Catch Me If You Can - 5 out of 5 stars
Full Circle Theatre Co.
TICKETS: https://events.humanitix.com/www-fullcircletheatre-com-au-catch-me-if-you-can/tickets
Full Circle Theatre Co.’s Catch Me If You Can is a
bright, stylish and hugely entertaining musical. With music by Marc Shaiman,
lyrics by Scott Wittman and Marc Shaiman, and book by Terrence McNally, it
tells the story of Frank Abagnale Jr, a young man whose talent for reinvention
takes him from aspiring airline pilot to doctor, lawyer and fugitive, all while
FBI agent Carl Hanratty refuses to give up the chase.
With more than 100 people auditioning for this production,
the cast assembled is uniformly strong, committed and exciting to watch. There
is not a weak link anywhere on stage, and the production moves with the
confidence of a company that has been performing together for years rather than
making its professional debut. Credit must go to the creative team — Director
Jo Casson, Musical Director Mark Stefanoff, Choreographer Zoe Komazec and Vocal
Director George Torbay — for shaping such a piece of theatre.
Jo Casson directs with a clear vision and a lightness of
touch, understanding this is a show built on glamour, speed and charm, but she
never loses sight of its emotional core. The pacing is excellent, the comedy
lands every time, and the quieter family moments can breathe.
Musical Director Mark Stefanoff is tremendous with his
12-piece orchestra, providing a rich and beautifully balanced sound, giving the
score the full-bodied sound it deserves. Stefanoff’s musical detail is
impeccable with a real sense of momentum, crisp entrances and cut offs – his performance
is something worth watching on its own. Meanwhile, Vocal Director George Torbay
has created consistently strong and emotionally connected vocals from all performers.
This is a company that clearly takes its music seriously, and it shows in every
number.
Zoe Komazec’s choreography is sharp and full of personality. There is a wonderful period flavour within the movement without feeling dated, and it gives the ensemble an abundance of opportunities to shine. Dance sequences are clean, energetic and tightly executed; and the scene transitions are handled with impressive flair. Komazec creates choreography that feels integral to the world of the show rather than decorative.
Joey Haenen is charismatic and hugely likeable as Frank
Abagnale Jr. He exudes the confidence, vocal ability and stage presence to
carry this show, and he makes Frank both dazzling and genuinely vulnerable. It
is a star-making performance, and he holds the audience in the palm of his hand
from beginning to end.
As Carl Hanratty, Rod Schultz brings a wonderful world-weary
edge to the role, balancing the character’s determination and dry humour with the
perfect amount of warmth. His scenes with Haenen are engaging in the show, and
he gives the pursuit at the heart of the story real emotional weight. ‘My Favourite
Time of the Year’ is a great Act One finale, which Schultz and Haenan make
special.
Michael Griffiths, as Frank Abagnale Sr., brings depth and
dignity to the role, making the father-son relationship believable and
affecting. His voice is rich and secure, and he gives Abagnale Sr. the emotional
grounding that is needed for the more colourful elements of the show.
Michaela Burger is glamorous, funny and fiercely watchable. As
Paula Abagnale, she has excellent comic timing and commands the stage when
required. She also finds the vulnerability beneath the character’s exterior.
Lisa-Marie Coad’s Brenda Strong is charming and sincere, bringing a lovely openness to the role and making Brenda’s journey genuine rather than simply romantic. Her vocal work is off the charts, showcased in ‘Fly, Fly Away’, and she creates one of the show’s most touching relationships. While a small role, Coad’s performance stole the show for me.
Shanee Osborne and George Torbay as Brenda’s parents, Carol
and Roger Strong are delightful and hilarious. Osborne has superb comic
instincts and a warm, engaging presence, while Torbay is hilarious with his
impeccable timing and his ability to get the most out of every line.
Matt Hawke, Daniel Maley and Flynn Spencer are a fantastic
trio as Branton, Cod and Dollar. Their chemistry is immediate, their timing is
sharp, and their scenes are consistently funny. They bring a wonderful sense of
play to the show and are a real asset to the production.
As Jack Barnes, Joe Meldrum makes a strong impression, bringing
the necessary energy and personality to the role, giving the production an extra
layer of texture and life.
The ensemble and dance troupe are outstanding. Their energy,
precision and personality in every scene go well beyond the big musical
numbers. Executing the set changes quickly and in character, with a level of
panache that make these transitions part of the show, they are choreographed in
time with Stefanoff’s baton, giving the production its continued sense of
momentum and polish. A particular highlight was ‘Doctor’s Dream’ in Act
Two, where a few of the ensemble are put under the spotlight, showcasing their extraordinary
vocals.
Jamie Mensforth’s sound design is clear, and well balanced,
allowing the orchestra, voices and dialogue to all sit comfortably throughout
the theatre. Mark Oakley’s lighting design creates a polished and atmospheric
visual world that shifts effortlessly between glamour, comedy and drama.
Together, they give the production a professional finish that enhances the
storytelling.
Seana O’Brien’s wardrobe is a visual treat! The costumes
capture the colour (or lack thereof), glamour and period style of the show
while giving each character a distinct look. From the airline uniforms to the
ensemble costumes, every detail is considered and contributes to the
production’s overall sense of style.
Brad Pickford’s digital design is sleek and effective,
adding depth and visual interest without overpowering the live performance in lieu
of clunky set pieces and killing the buzz in set changes. It complements the overall
aesthetic beautifully, helping to create a cohesive world for the story.
Full Circle Theatre Co. makes an incredibly strong debut
with Catch Me If You Can. It is a production full of talent, heart and
ambition, delivered with a level of polish that makes it feel like a genuine
milestone for South Australian music theatre.
- Andrew Broadbent
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