Skip to main content

Review of Catch Me If You Can at Milton Keynes Theatre

This touring play called Catch Me If You Can could easily be mistaken for the Steven Spielberg film of the same name, or indeed the later musical that spun from it. However, this is very different, a rather intriguing adaptation of a 1965 French play, Trap for a Lonely Man, by Robert Thomas and adapted here by Jack Weinstock and Willie Gilbert. Equally intriguing is the appearance of Dallas legend Patrick Duffy in the cast. So, should you be catching this play as it tours around the country? That is the first mystery to solve.

Daniel Corban’s wife Elizabeth has gone missing days after their marriage. Calling Inspector Levine to his honeymoon retreat in the remote Catskill mountains, Corban is desperate to find her. Then in the company of a local priest, Father Kelleher, she returns. Or does she?

In this constantly twisting and turning play, that is the sum of the story that should be shared here. To experience this play's labyrinthian twists and turns is much of the fun of this play, here directed extremely well by Bob Tomson.

At the centre of this show is a solid, if occasionally underplayed performance by Patrick Duffy as Daniel Corban. He delivers a performance just on the right side of the correct volume, but can, occasionally be difficult to hear in his relatively mild-mannered performance. Even when enraged by the events that surround him, Duffy barely raises a decibel.

Elsewhere Gray O’Brien is a lively and infectious Inspector Levine, quick with the jokes, often at the expense of his unseen wife. It is a great little performance, and in the role, O’Brien looks the part and his world-weariness makes his character instantly likeable. Linda Purl is tremendous as the lady who may or may not be Corban’s wife Elizabeth, and the dynamic between her and Duffy is excellent throughout, maybe unsurprising as they are in a real-life relationship. Purl expertly plays the path and behaviour of her motive questioned character.

I really liked Ben Nealon’s Father Kelleher, another character who you keep guessing the motives. Finally, of mention from the cast, there is a highly amusing appearance by Hugh Futcher, who holds the stage solo in his opening scene as Sidney. Great fun.

The set from Julie Godfrey is extremely functional and easy on the eye, while Matthew Bugg’s sound design captures some simple, but extremely effective, atmospheric moments.

Catch Me If You Can is a surprise. There is admittedly a degree of very clunky dialogue, which sometimes doesn’t feel has aged well. However, the clever and constantly weaving plots keep you guessing until the big twist at the end. Definitely worth catching this play as it tours the country.

Catch It While You Can!
⭐⭐⭐⭐

Performance reviewed: Monday 4th April 2022 at the Milton Keynes Theatre, Milton Keynes.

Catch Me If You Can runs at Milton Keynes Theatre until Saturday 9th April 2022.

For further details about Milton Keynes see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

Catch Me If You Can is a BILL KENWRIGHT PRODUCTION

Production photos: Jack Merriman


Popular posts from this blog

Review of Lord of the Dance at Milton Keynes Theatre

On what was so far the hottest day of the year, and the highest in many a record book, it feels a tad evil to watch as a group of extremely talented performers bring to the stage one of the most famous and most energetic dance shows to tour. However, arriving now at Milton Keynes Theatre, as part of what is now the still rather immodestly titled 30 Years of Standing Ovations tour, Lord of the Dance remains full of energy even on the hottest of evenings in Milton Keynes. I last and first saw Lord of the Dance as part of the 25 Years of Standing Ovations tour, four years ago (yes, the sums don’t quite work), and it was every bit as spectacular as you could imagine this world-famous dance show is. Born into the world from Michael Flatley and the Riverdance spectacular that preceded it, Lord of the Dance is a simple but effective battle between good and evil and the resolution of it through dance rather than fighting. The dancing here is, as expected, exceptional, led by the Lord of the...
Read more

Review of making second Kontakt with the R&D Youth Theatre at Royal & Derngate (Underground), Northampton

As I said in my first Kontakt review, I wasn't really sure that I wanted to see this show. However come Sunday and a second opportunity to see it, I was genuinely looking forward to it. With the show now having departed, for my second review I will elaborate a touch more on happenings, which initially I shied away from as spoilers. My actor for my second encounter was 15 year old Michael. He had the enviable task unlike Michael before him of dealing with someone who knew quite a bit of what was coming. As those surgical gloves went on I this time was certain that the R&D were not going to overstep the boundary and do a full medical. I had also learnt that a crisp sandwich was something that should be left in the memory, so cheese was a much more sensible option. I was able to complete the calculation generally unaided and managed to express an exaggerated shock at the latter outcome. The game of Jenga managed to stay stable once again and rather amazingly managed to bring t...
Read more

Review of DNA by University of Northampton BA Actors at Jacksons Lane Theatre, Highgate, London

The final year performances of BA Actors this year upped sticks and headed away from their Northampton Royal territory and gathered to show their skills in London. The first of the three shows being performed was Dennis Kelly's DNA, a play which I saw performed on the Royal stage itself four years ago. I enjoyed it for its dark mysterious nature and was looking forward to seeing a different interpretation of the show. It tells the tale of a group of youngsters who do something really bad, and proceed to attempt to cover it up, resulting in the real bad, well, getting more bad. It's dark yes, but also, very funny at times. It opens with a looming movement piece of theatre, which I always love and this was no different for me, brooding and sinister. It's quite a long opening, which perhaps, in the end, becomes too long, but it's a fabulous piece of theatre for me. It set's the scene very well for Kelly's dark piece to unfold and in the hands of these, about ...
Read more