Review: CATCH ME IF YOU CAN by Kauri Theatre

A high quality, high energy, feel good show at a time when we need it. 

Catch Me If You Can is a stage musical based on the real-life story of master con artist Frank Abagnale Jr. With a book by Terrence McNally and music and lyrics by Marc Shaiman and Scott Wittman, the show premiered in 2009 before opening on Broadway in 2011, earning multiple Tony Award nominations. It is celebrated for its slick storytelling and its infectious, 1960s-inspired score.

Set against the optimism and excess of the 1960s, the story follows teenage runaway Frank Abagnale Jr., who successfully cons his way across the United States by posing as a Pan Am pilot, a doctor, and a lawyer, all while forging millions of dollars in cheques. As Frank revels in the thrill of his double life, he is relentlessly pursued by determined FBI agent Carl Hanratty. Beneath the glamour and comedy lies a touching exploration of family, identity, and a deep longing for belonging.

From the moment of arrival, the experience is immersive. The Gryphon Theatre foyer has been transformed into an airport, complete with clever details such as check-in and boarding passes. Once inside, the doors open to reveal a raised stage with an additional rear level, enhancing sightlines and visual interest. The set itself is minimal, apart from the stairs, allowing for seamless, fast-paced movement and slick transitions. Suitcases are ingeniously repurposed as desks and props, assembled and dismantled by the cast with impressive precision and flow, ensuring there are never lulls in the action.

There are many highlights in this production, but none more impressive than the cast, whose dedication and energy clearly reflect hard work in rehearsal. Jackson Stone shines in the lead role of Frank Abagnale Jr., commanding the stage with ease and demonstrating an impressive vocal range. Alex Rabina is equally strong as the dogged and laser-focused Carl Hanratty; his relentless pursuit of Frank also opens the door to some excellent comedic moments at his expense.

Carl Johnstone delivers a standout performance as Frank Abagnale Sr., singing and acting with heartfelt vulnerability. His portrayal makes him the most flawed yet deeply endearing character on stage. Lily Tyler Moore is great as Brenda Strong, Frank’s love interest, delivering confident acting and several memorable moments throughout the show.

One musical highlight is “Little Boy, Be a Man,” performed by Hanratty and Frank Sr., poignantly contrasting their strict upbringings and how those experiences shaped who they became.

The remainder of the cast is consistently strong. Particular enjoyment came from the bumbling FBI agents who trail Hanratty everywhere, providing much of the show’s humour. The ensemble works tirelessly throughout, maintaining energy, precision, and commitment from beginning to end.

While the music is undeniably catchy, it is perhaps less than fully memorable. After the curtain call, I found myself remembering how certain numbers made me feel rather than the melodies themselves. This is certainly no fault of the performers, nor the excellent on-stage band, which is cleverly revealed early in the show and remains visible for most of the evening. Musical direction by Emma Salzano is evident throughout, with chorus and solo performances sounding polished and vocally strong.

First-time director Alistair Davies should be extremely proud of this production. Thoughtful touches, strong attention to detail, and seamless scene transitions are evident throughout. Having previously discussed his collaborative rehearsal approach, it is clear that this method has paid off handsomely.

A major highlight of the evening is the choreography by Stacey Neale. The movement is precise, energetic, and perfectly aligned with both the music and the tone of the show. Many audience members singled this out as a standout element, and rightly so. Stacey’s infectious personality shines through her choreography, and the cast executes it brilliantly.

Costuming is another triumph, with an extensive range of period-appropriate outfits that never feel out of place. It is clearly the result of a massive team effort, led by Anne De Geus and Caitlin Fitt-Simpson

Sound design by Alexander Quinn is largely effective, though there were minor balance issues and occasional microphone problems. Unfortunately, this meant some dialogue may have been missed by audience members seated toward the back of the theatre. Lighting by Tom Smith is solid, enhancing the mood without drawing unnecessary attention to itself.

This production ranks among the very best musicals staged at the Gryphon, firmly placing it in the top tier. Tickets are selling fast, so if you want to get along to see it, catch them while you can. You’ll be treated to a high-quality, high-energy show packed with laughs, drama, and outstanding work from a talented cast and creative team.

Highest of recommendations. Congratulations to all involved and thank you, Kauri Theatre, for another memorable night of theatre.