People of a certain age may remember the showy and fun variety shows of the 1950s, ’60s, and ’70s. A roll call of show business legends had a show back then: Perry Como, Tennessee Ernie Ford, Andy Williams, Red Skelton, and who could forget Carol Burnett and her company of clowns. In the mid-sixties, even crooner and film star Dean Martin headlined his own popular show, surrounded by a bevy of showgirls (The Golddiggers) and his easy-going charm and charisma.
It is that same atmosphere and sensibility that the creators of the musical Catch Me If You Can chose to retell the misadventures of Frank Abagnale Jr., the young man who successfully impersonated an airline pilot and a hospital doctor and amassed a fortune in ill-gotten gain. The Little Theatre of Alexandria has brought the musical to life with style and energy to spare, now playing through August 8, so you are urged to catch it if you can.
Abagnale’s incredible story and the FBI manhunt he caused became the 2002 Stephen Spielberg movie, Catch Me If You Can, starring Leonardo DiCaprio as Abagnale and Tom Hanks as his FBI nemesis, Carl Hanratty. Nearly a decade later, the late dramatist Terrence McNally teamed with the composer and lyricist team of Marc Shaiman and Scott Wittman to adapt it into a Broadway musical. Shaiman’s peppy and brassy score echoes the heyday of glitzy Broadway shows of the sixties such as Bye, Bye, Birdie, Golden Rainbow, or Promises, Promises.
The variety show outline is not part of the story itself, per se, but a framing device. Abagnale’s story unfolds in the form of a flashback, beginning at the moment he is finally caught by Hanratty and his G-Men. The elusive young man pulls everyone into the story with a rousing and jazzy opening number, “Live in Living Color,” with the company joining him as his backup singers and dancers.
Performing in stylish and snappy fashions from the time period — designed by Lourdes Turnblom — the talented cast gamely takes the audience on Abagnale’s hard-to-believe journey, beginning at age 16 when he ran away from home to start his career of impersonations and check forgery. Playing the cheeky leading man from his late teens to the ripe old age of 21 in the LTA production is Cam Powell. A potent triple threat, Powell handles the heavy load of singing, scenes, and the dances effortlessly. From the innocence of a teenager who wants to help his family’s struggling finances to the confident conman, Powell exudes infectious charm. His light but powerful voice is showcased in his “I Want” song, “Someone Else’s Skin,” and his 11 o’clock number, “Goodbye,” among others.
As his archrival and constant pursuer, Hanratty, Thomas Stratton brings an uptight demeanor and laser focus to his role as the frustrated FBI agent. Stratton also handles Hanratty’s vulnerability when he realizes his mastermind criminal is just a kid. He and his fellow agents shine in their production number “Don’t Break the Rules.” Stratton also gets to warble a Sinatra-esque ballad, “The Man Inside the Clues.” The leading man and his foil carry the show from start to finish and make it all look easy.
Powell and Stratton are supported by a hardworking and skilled ensemble who take on all the other roles in Abagnale’s adventures. His American dad and French mother are played with grace and authority by Steve Cairns and Megan Galant, respectively. Cairns, as Frank Sr., is a dreamer who passed along his devil-may-care attitude to his wily son. Father and son show off their close relationship in the duet “Butter Outta Cream,” a highlight. As the classy and cosmopolitan Paula Abagnale, Galant brings sophistication and a strong, smoky voice to her romantic goodbye song, “Don’t Be a Stranger,” dueting with Cairns.
According to the story, young and virile Frank Junior not only deceived hundreds of people by pretending to be an airline pilot and an emergency room doctor, but he also had a way with the ladies. That is, until he meets a sweet, Southern young nurse in Atlanta, Brenda Strong, played with understatement and a powerful vocal instrument by Katherine Leverenz. Abagnale is immediately smitten by the nurse, and his entire demeanor changes once he falls for her. The onstage chemistry between Powell and Leverenz is palpable, especially when they sing the romantic “Seven Wonders.” Leverenz also filled the stage with her huge, melodious voice during her breakout number, “Fly, Fly Away.”
Rounding out the cast, Jenny Gleason and Jonathan Uffelman play Brenda’s very Southern parents, Carol and Roger, making the most of their scenes. Alexandra Lagos (Cheryl Ann), Michael Page (Agent Branton), Kevin Donlan (Agent Cod), and Mylo Cluff (Agent Dollar) play pivotal roles. As the dancers, flight attendants, medical staff, and others, Lauren Fagan, Justin Harmon, Alexis Hooks, Meredith Kilmartin, Brooke Matthews, Maia Potok-Holmes, Alfred Reid, Danny Seal, and Tiffany Stitz all handle their duties well.
The impeccable casting and brisk pacing of the production is a credit to director Jarod Glau, who obviously had an affinity for the material and the time period, judging from the number of smokers onstage. His collaborator, Kristina Friedgen, provided show-biz sophistication with the choreography.
Highlighting key moments of both pathos and musicality, Jake Gunter’s lighting design went from blazing studio lights to a film noir atmosphere depending on the moment, a key factor to the show’s successful look. The action takes place on the simple but effective set designed by Noah Beye, transforming the stage into “The Frank Abagale Show” with the 12-piece orchestra occupying the top of the bandstand set. With pianist-conductor Owen Posnett at the helm, the small but mighty instrumental ensemble handles the jazzy and spirited score and supports the cast from downbeat to cutoff.
Not marring the performance but certainly a distraction was the balance of the orchestra and the vocalists, which could have been an issue corrected for subsequent performances, but it did affect some listeners’ experience with a few numbers.
Sound issues aside, Catch Me If You Can is a brassy and sassy musical escape into a bygone world and the true (or truth-adjacent) adventures of America’s most likable con artist. And don’t forget, the whole experience is “live in living color.”
Running Time: Approximately two hours and 30 minutes with one intermission.
Catch Me If You Can plays through August 8, 2026, presented by Little Theatre of Alexandria, performing at 600 Wolfe Street, Alexandria, VA. Patrons may purchase tickets online in advance or through the box office at (703) 683-0496 or via email, BoxOffice@thelittletheatre.com.
The program for Catch Me If You Can is online here.
