★★★★½
Full Circle Theatre Co. fly high with their inaugural production of Catch Me If You Can. This performance marks the opening of South Australia’s first professional music theatre company.
Since the Bachelor of Music Theatre at the Elder Conservatorium of Music began in 2019, it has been producing triple-threat performers with few local professional opportunities awaiting them. After years of graduates creating their own work in Adelaide Fringe productions and losing talent to interstate and overseas, an answer has finally arrived.
We celebrate the vision and courage of chair Rosanna Senesi, CEO and Artistic Director Jo Casson, and patron Dr Pamela Wall AO for the legacy they are building. In the words of Casson, “South Australia deserves a professional music theatre company it can call its own.”
We buckle in for the ride, first class if you’re lucky. Transported to the 1960s, audiences are greeted by a simple yet effective set, featuring a white centrepiece stage with a balcony and twin staircases. Here, artist Reilly O’Loughlin makes his first foray into stage set design.
The design, dotted with era-inspired squircle screens and a large backdrop screen, pays homage to the birth of Technicolor. These structures showcase Brad Pickford’s animation, motion graphics and projection design. Mark Oakley adds the finishing touches with dramatic coloured lighting, capturing the leads in striking moments under the spotlight.
The musicians are visibly draped above the stage in classic big-band style under the direction of Mark Stefanoff. Is there anything this man cannot do? It is a pleasure to watch him conduct with poise, keeping the 12-piece orchestra sharp and lively throughout.
The opening number, Live in Living Colour, establishes the production’s playful tone, presenting the story within a story. Frank Abagnale Jr. breaks the fourth wall and draws us into the thrilling energy that defines musical theatre. The ensemble enters in cascades with palpable excitement.
Wardrobe manager Seana O’Brien has assembled a stunning collection of stripes, polka dots and geometric patterns in monochrome. The women, in particular, showcase a fashionable parade of flattering costumes for air hostesses, nurses and showgirls. They are dripping with sparkling diamantes, adorned with feathered headdresses.
The ensemble steals the show. Every member acts and dances with precision and intention. I found myself drawn to them in their numbers. Functioning as a Greek chorus, they transition scenery while fixing characters with knowing stares. A simple piece of furniture becomes an opportunity for another flourish of dance.
Zoe Komazec’s choreography makes full use of the highly trained dancers. Intricate movement sequences brim with flair, while the jazz dance is executed to an exceptional level. I particularly enjoyed the subtle Fosse-inspired moments. FBI agents filing onto the stage in tap shoes for Don’t Break the Rules proves a marvellous addition.
Jo Casson directs a cohesive and polished production. Her vision embraces both the spectacle and the heart of the story, ensuring the emotional stakes remain just as compelling as the dazzling production numbers.
Joey Haenen carries the role of Frank Abagnale Jnr in his stride. He sings the intelligent and charismatic young con artist with ease and presents with a confident air. We are reminded of the dashing Leonardo Dicaprio with Tom Hanks in the 2002 film inspiration.
He faces off with Rod Schultz as the tenacious FBI agent Carl Hanratty. Schultz is appropriately rugged and world-weary, yet deeply endearing. As the investigation unfolds, he reveals a vulnerable heart beneath Hanratty’s determined exterior, creating a compelling counterpart to our anti-hero.
Michael Griffiths and Michaela Burger form a strong pairing as Frank and Paula Abagnale. Their performances are raw and believable as the audience delves deeper into the family’s secrets. Griffiths impresses vocally, while Burger dances her way between admirers with elegance and charm.
Act Two opens with the knockout number Doctor’s Orders, featuring ensemble vocalists Stephanie Cole, Isabelle Oppedisano and Brooklyn Twelftree. Cole from The Voice in 2020 once again showcases her powerhouse vocals while strutting the stage in her nurse’s uniform.
Lisa-Marie Coad captures the sweetness and innocence of Brenda Strong. Her breathtaking rendition of Fly, Fly Away is delivered with sincerity, conviction and emotional depth.
Comic relief arrives in the form of George Torbay and Shanee Osborne as Roger and Carol Strong. Torbay proves an audience favourite and, as the production’s vocal director, deserves the extra round of applause. Together they extract every ounce of humour from their roles and clearly relish their moment on stage.
Jamie Mensforth’s sound design serves the production well, although vocals occasionally sat too low in the mix. It is a reminder that Adelaide’s growing professional theatre sector still needs more purpose-built performance spaces capable of supporting ambitious productions such as this.
As the audience erupted into a standing ovation, I stood proud of what South Australian artists have to offer. With more than 100 auditionees vying for a place in the cast of Catch Me If You Can, the demand is undeniable. Thank you, Full Circle Theatre Co., for bringing a production of this calibre to life. We welcome you as warmly as you have welcomed us and look forward to a bright future for musical theatre in Adelaide.
Catch Me If You Can is presented by Full Circle Theatre Co. and runs to 7 November at Futures Theatre. 57 Darley Road Paradise SA 5075.
Tickets are available here.
Website: https://www.fullcircletheatre.com.au/
Socials: https://www.instagram.com/fullcircle_theatre/
Photo credits: Simon Casson Photography
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