Interview: Blake Jenner on Portraying Frank Abagnale, Jr. in CATCH ME IF YOU CAN

Based on the Dreamworks motion picture, the stage musical Catch Me If You Can with book by Terrence McNally, music by Marc Shaiman, with lyrics by Scott Wittman and Marc Shaiman, is being directed by Michael Donovan with choreography by Natalie Iscovich and musical direction by Brent Canyon at The Colony Theatre in Burbank from September 17 to October 18, 2026. The musical captures the astonishing true story of Frank Abagnale, Jr., a world-class con artist who passed himself off as a doctor, a lawyer, and a jet pilot - all before the age of 21, with straight-arrow FBI agent Carl Hanratty hot on his trail.

Taking on the electrifying and demanding leading role is Blake Jenner, a remarkably versatile talent of stage and screen, perhaps best known for his compelling performances in projects like Glee, What/If, and Richard Linklater’s Everybody Wants Some!! Here’s my conversation with him about the grueling physical demands of the show, digging past Frank’s many masks to find his authentic core, and what it’s like bringing this sleek, retro spectacle to life.

Blake Jenner Portrays Frank Abagnale, Jr. in Catch Me If You Can
Photo courtesy of the artist

Frank Abagnale, Jr. is a character who wears dozens of different "masks" throughout the show—from a pilot to a doctor to a lawyer. How do you approach keeping Frank’s authentic, vulnerable core visible to the audience while he is actively deceiving everyone on stage?

While Frank is actively conning everyone on stage, what’s wonderful about this show is that there are multiple moments where Frank speaks and emotes with the audience directly. It makes for a very interesting bridge to run back and forth on as an actor.

At its heart, Catch Me If You Can is deeply rooted in Frank’s relationship with his father, Frank Sr., and his search for a father figure in Carl Hanratty. How have you and your co-stars (Kevin Bailey and Joe Abraham) worked together to build those distinct, emotionally heavy dynamics?

Joe and Kevin are a couple of the most incredible actors I’ve gotten to work with. I feel like I learn something new every time I work with each of them. Luckily, everyone came into this process extremely open. Whether it’s been speaking about what’s on the page or diving into back stories, nothing has been off limits.

Frank is incredibly young when he pulls off these massive cons. How do you tap into that teenage bravado balanced with the underlying terror of a kid who is running away from his broken home?

I think everyone can relate to things not going according to plan in life, especially within a family in some way shape or form. I think knowing what heartache feels like coupled with the amazing writing, music, and direction, you kind of have no choice but to empathize with someone running from something that doesn’t make sense to him anymore.

The score by Marc Shaiman and Scott Wittman is heavily inspired by 1960s variety shows, requiring tremendous vocal agility. Which number do you find the most rewarding to perform, and which one is pushing you the furthest during rehearsals? How so?

I believe “Goodbye” is probably the most rewarding. While it’s a song that naturally sits at a higher register, it’s also quite the emotional journey. I’ve very much enjoyed piecing that together with Michael, Heather, and the rest of the creative team. It feels like a true milestone of sorts by the end of the song, in my opinion. That’s probably been the most challenging, to balance what the character is going through in that moment/relaying it all through movement and song.

What does your warm-up and performance-day routine look like to protect your voice for such a demanding track?

Aside from vocal training with the wonderful Sammy Linkowski, staying hydrated, fed and well rested has been a secret weapon. Warming up in the mornings and warming down in the evenings has been an incredible tool as well.

How did working with director Michael Donovan and choreographer Natalie Iscovich help you lean into the sleek, retro aesthetic of the show's dance numbers?

I think Michael and Natalie came into this show with a clear sense of the mark they wanted to hit. Which was so helpful right from the jump. I’m kind of a naturally goofy person, so within both scene work and dance, it was a saving grace having them there to make specific deposits into the ways Frank Jr. would carry himself through certain moments.

Most audiences are incredibly familiar with Leonardo DiCaprio’s film portrayal or Aaron Tveit's original Broadway performance. Did you deliberately look at those interpretations for inspiration, or did you try to completely isolate your creative process from them?

Well, I watched the film quite a few times when I was younger and I absolutely loved it. I thought the acting was so incredible in that film. I also have gotten to see clips of Aaron’s original Broadway Performance as well. That was incredibly helpful to get a sense of the heartbeat/tempo of the show. Other than that, it’s been wonderful getting to put our own spin on this amazing story.

Frank is a con man, yet he is the hero of the story that audiences actively root for. Why do you think people are so uniquely charmed by Frank Abagnale, Jr., even when they know he is breaking the law?

I think audiences root for Frank because at the end of the day, he’s a young man trying to find his place in the world the only way he was taught. I think he can’t bear a certain pain he feels at home, and he thinks he can rectify that by getting a huge piece of the world and bringing it back. When you’re young, you think everything has got a quick fix, and that everything can be mended with a simple apology. I think a lot of people miss those youthful rose-colored glasses; they understand where his heart is at.

Following your time in The Wedding Singer at The Colony Theatre, which was also directed by Michael Donovan, you’re stepping back onto the same stage for another grand, nostalgic piece. What makes this specific theater space feel right for a show as energetic and fast-paced as Catch Me If You Can?

I think Heather Provost and the entire team behind The Colony are the perfect people to bring shows with so much heart like “The Wedding Singer” and “Catch Me If You Can” to life because they handle each show with such love and care. They have an open-door policy to anyone and everyone they work with and will never lead you astray in any way.

Is there anything else you would like to share about the production, including working with the cast and creative team?

I think everyone is in for a real treat with this show and team/cast. Everyone is just so talented and passionate, I truly think all the hard work and love that went into this show will be so palpable every step of the way for an audience member.  I’ve loved every second of this experience.

Thanks so much, Blake!

Catch Me If You Can, the musical, with preview performances on Thursday, September 17, and Friday, September 18, at 8pm, and opening on Saturday, September 19, at 8pm. The regular performance schedule will be Friday at 8pm, Saturday at 2pm and 8pm, and Sunday at 3pm, through October 18 only. The Colony Theatre is located at 555 N. Third Street (between Cypress and Magnolia) in Burbank, 91502. Free onsite parking is available.           

Admission for previews is $61. For regular performances, admission is $76, with a limited number of opening night seats available for $106 (includes a post-performance reception). Tickets may be purchased online at www.colonytheatre.org.