There is not a dull moment in Catch Me If You Can, a show adapted from from French writer Robert Thomas’ play Trap for a Lonely Man and now produced by the legendary Bill Kenwright. We begin with Inspector Levine, played by the exceptional Gray O’Brien, called to a cabin in the Catskill mountains to investigate the sudden disappearance of newlywed Elizabeth Corban, called there by her husband Daniel Corban. In a series of nimble scenes, both we and the characters flounder to try and predict together not only what has but what will happen. What follows is a combination of Hitchcock, Agatha Christie and Billy Wilder.

“In a piece so meticulously plotted out, any detail feels like a spoiler”

Kenwright’s production of Catch Me If You Can was originally written in 1965 by Willie Gilbert and his physician-turned-creative-partner Jack Weinstock. The play retained its 60’s setting, dropping you in the middle of a Mad Men-esque set. The set design was a masterpiece of construction, every item and design on stage reminiscent of an era past, successfully alienating us from the present, and therefore from reality. It was aided by the dreamlike sequence of the show, which was full of scenes and actions that edged on the unreal. Each blackout is timed perfectly to further confuse the audience as well as to keep the stakes high, with some well-timed Sinatra to keep the edge off. Overall it creates a dizzying and exhilarating effect that keeps you constantly wanting more. 

“The set design was a masterpiece of construction, every item and design on stage reminiscent of an era past”

In a piece so meticulously plotted out, any detail feels like a spoiler. It is a show that constantly keeps you second guessing both yourself and the characters. During the interval my friend and I, as well as the people around us attempted to piece together what we thought was happening, but none of us could predict the coming twists and turns. Even for those who know or guess its audacious pay-off, Catch Me If You Can remains a joy due to its exemplary plotting and the whip-smart performances by everyone involved. As things get more heated and the plot more convoluted, each word Daniel Corban (Patrick Duffy) speaks is like a nail in his stage coffin.

Elizabeth Corban (Linda Purl) offsets his performance by remaining sure, caustic and grounded throughout, and together they are electrifying. Linda Purl’s character is a particular delight, despite the 60’s setting she plays a working woman who is calculating and certain of her role, even if the audience is not. Keeping us even further on edge are the perfectly timed appearances of Gray O’Brien’s Inspector Levine and Ben Nealon’s Father Kelleher. Each of them debonair and charming, their magnetism animates every moment they are on stage.

Providing equal doses of intrigue and comic relief, the entrance and exits of each character has the pace of a screwball comedy, paradoxical to the constant thrill and suspense they bestow. The pace is steady up until its final conclusion which is so swiftly executed it leaves you gasping. Any reservations that cropped up when something seemed amiss subsequently dissipated with each twist and reveal. Whether you’re chuckling at the witty dialogue or trying to unravel the mystery and decide who and what to believe, the play is sure to keep you entertained.

Catch Me If You Can is playing at the Cambridge Arts Theatre Tues 24- Sat 28 May 2022 at 7:30pm and 2.30pm Thursday & Saturday. BSL interpreted performance Wednesday 25th May 7:30pm.