Theatre Review: Catch Me If You Can

Tweet

Presented by: Full Circle Theatre Company
Reviewed: 5 November 2026

Full Circle Theatre Company headed up by the formidable, and I haven’t met her personally, Jo Casson, has been promising us a new professional music theatre company since the announcement of this new venture a few months ago. Did we get one? Oh, yes we did. Casson has put together a cast and crew that delivered a polished rendition of a Broadway musical we have been waiting to see professionally in Adelaide for years. It is slick, it is funny, it is polished, it also has a couple of those wonderful music theatre moments that leave you with a lump in your throat and a song in your heart.

The model is tried and true and was used for years in the publicly funded productions put on in Melbourne by The Production Company. They enjoyed 15 years or so of three musicals a year with money injected by a wealthy patron and a range of local sponsors. Casson has put together a board of formidable expertise and attracted an impressive range of local sponsors and has her own patron Pamela Wall AO. Clever and inspired. This company will be a bonus for local talent and will attract stars of the industry both locally and I’m sure there will be an interstate interloper or two. It’s just too exciting to miss out on.

Anyway back to the musical at hand. Casson has cast and directed this very well. From the curtain up moment that leads us into a great story the impact and presence of some very talented performers brought this true story to life. Joey Haenen breathes a life and energy into Frank Abagnale Jnr that makes his character unforgettable. Haenen is a recent graduate of the Elder Conservatorium Music Theatre course and he is a showcase for the exceptional talent that is being gifted to our music theatre industry both at home and all around the world. He shines in the role, his energy and drive an infectious whirlwind that gathers up everything around him and drives the piece forward. I think I just witnessed a star is born moment.

But hang on, Rod Schultz’s portrayal of Carl Hanratty the FBI detective whose whole existence is driven by his pursuit of Frank Junior is a lesson in character driven excellence. He is funny, authoritative, driven, angry, defeated and still manages to drive his motley detective crew towards their common goal. Matt Hawke, Daniel Maley and Flynne Spencer make a really challenging and funny bunch of detectives, their work is a joy to watch. Schultz is the embodiment of a New York cop and his wonderful Noir moment will be a treasured memory.

Michael Griffiths and Michaela Burger are a dream bit of casting. Griffiths threatens to steal the show a couple of times, but his innate professionalism holds him in check, and his solid and passionate centre is palpable—one of those performances that gives to everyone else. Burger, what a talent. A French paramour of the highest quality with a zest for life that’s unquenchable – just like her talent.

Shanee Osbourne is luminous as Carol Strong, her presence is strong yet vulnerable and intuitive. Great to watch, a joy to listen to.

Lisa Marie Coad’s Brenda Strong is funny and oh so very silly. She dominates the stage every time she opens her glorious Southern mouth. It is great to see George Torbay treading the boards again. His formidable presence, focussed fully into the very funny character of Roger Strong, A cameo that is destined for the history books.

But no musical is complete without an ensemble – and what a talented and hard working bunch walked onto the stage at the beginning of two and a half hours of demanding Broadway theatre and they gave it everything they had to bring in all the loose ends and turn this into a night to remember. Zoe Komazec has choreographed some demanding and breathtaking numbers that will have you wanting to jump out of your seat and onto the stage to join them. Both era-perfect and original, the work makes the show It turns it from a good musical into a great one. Great tap routine too, we can never have enough good tap.

There are of course the other hard working and talented creatives who never get nearly enough recognition. Let’s start with Mark Stefanoff who has put together an onstage band worthy of any world class musical. He is also a master in good tempi and musical support for his onstage performers and he can really handle a bunch of musicians. The show is a joy to listen to and his collaboration with George Torbay as vocal director made the piece musically satisfying and readily accessible. 

Brad Pickford’s digital show design (with the help of some very creative furniture removal) works like a dream in the venue. It never intrudes but always subtly puts the action in the right place.

Sound design by Jamie Mensforth is good though at times it got a little too rock and roll for a music theatre feel. There were times when the ensemble became so loud they were incomprehensible. Loud doesn’t mean you can’t understand the words. However, a first night with a full house always changes the sound profile, perhaps I’m being a bit too picky.

Mark Oakley’s lighting design is so good you don’t notice it. Reilly O’Loughlin’s set is perfect for the staging and the space. Kate Vallebregt’s props and scenic dressing well researched, and, a special mention for  Seana O’Brien and her wardrobe team. The show was impeccably costumed. Authentic, exciting and very well researched.

The ultimate test of a good piece of theatre is the audience reaction. The audience gave the cast a well-deserved standing ovation and that is the review that writes itself.

Congratulations Jo Casson and a very talented cast – you’re a hit!

Reviewed by Adrian Barnes

Photo credit: Simon Casson Photography