Catch Me If You Can

Choreography is the star of Willoughby Theatre Company’s NSW Premiere production of the musical Catch Me If You Can, with equal kudos to the tremendous, tightly drilled ensemble who dance it so enthusiastically.

Inventive choreographer Janina Hamerlok evokes the 1960s splendidly, but mixes it up with showgirl glamour and striking kicklines.

Undoubted highlight of the evening was a precision song and dance number by the men as a chorus of FBI agents, very possibly the best piece of male ensemble dancing I’ve ever seen in a Sydney Community Theatre production. That’s not to take anything way from the fabulous female ensemble, or the whole company numbers - it’s just that it’s a singularly remarkable feat to take so many boys, including non-dancers, tailor steps and movement they can all achieve, then have them execute them with such apparent ease, confidence, slickness and energy.

The ladies certainly get in on the party as fantasy showgirls, airline hosties, naughty nurses and television variety show dancers.

Based on the 2002 movie of the same name, in inspired by the true memoir of teenage conman andcheque forger Frank Abagnale, Jr., the musical follows his cons, from posing as a substitute teacher, escalating to impersonating a Pan Am co-pilot and a doctor, as he’s relentlessly pursued by an obsessive FBI agent.

A strong principal cast propels the bright, brisk musical comedy along in Director Adam Haynes snappily-paced production.

The protagonists are Shaun Young’s impressive cocky song-and-dance fraudster Abagnale, slightly shaded by Peter Meredith’s assured comical Columbo-ish FBI agent Carl Hanratty. When they came together in a terrific late second act duet, “Stuck Together (Strange But True)”, I found myself wishing that the show’s book had invented more opportunities for them to share the stage. Young’s performance peaked significantly when the two shared a late show duet.

They receive terrific support.

As Frank’s mother Paula, Roslyn Howell is an exotic French housewife, with a seductive accent and sleek dance moves. As Frank Snr, Geoff Stone convincingly layers the character of Frank’s disillusioned dreamer father, constantly trying to mask his failings, before pathetically retreating into alcoholic oblivion.

Boy-meets-girl comes late in this show, mid-way through the second act, when Lexy de Zwart enters as earnest, endearing young nurse Brenda Strong, before stamping her mark on the show toward its end delivering the ballad “Fly, Fly Away” with her fabulous Broadway belt.

Craig Scott and Julianne Horne chip in with enjoyable broad comedy late show cameos as Brenda’s mom and dad, Roger and Carol Strong. In fact, Julianne brings light-handed comic flair to a pair of cameos, doubling up as the school principal earlier in the show.

Numerous solos in various numbers indicate just how deep the vocal and acting talent runs in the assembled company.

Musical Director Alex Ash’s spot-on on-stage orchestra, vibrant costuming from Yanina Hamerlok and team, Simon Greer’s design mix of 60s motifs and multi-media, complemented by highly effective lighting from James Wallis and excellent sound ensured that yet another Willoughby Theatre Company production was the full package.

One of the great joys of community theatre is the chance to see Broadway Musicals which aren’t viable for local commercial producers.

Comingfrom the songwriting team behind Hairspray, you might expect more of the actual show itself(as opposed to Willoughby’s impressive production). For mine the script, and the challenge of adapting the source material, are probably the main factors behind the show’s relatively short Broadway run.  While Hairspray has a seemingly endless line-up of engaging characters, it’s hard to find anyone to really empathise or connect with in Catch Me If You Can.

Musical Theatre fans, though, should embrace this splendid opportunity to see a top-notch staging of Catch Me If You Can.

Neil Litchfield

Images: Grant Leslie