Live in Living Color (from the musical Catch Me If You Can): SSA Choral Octavo

Eric Van Cleave's arrangement captures the theatrical snap and personality of Shaiman's original while sitting perfectly in the SSA range. The piece opens the show with immediate visual and musical impact, making it an outstanding choice for groups looking to command attention from the first moment. Unlike many pop choral arrangements that rely on heavy overdubs or studio production, this one works brilliantly live.

The opening number of Catch Me If You Can bursts with con artist charm and infectious confidence. Expect bright energy, syncopated rhythms, and the kind of celebratory momentum that makes audiences lean forward in their seats.

This arrangement suits choirs with solid part-singing skills and comfort with Broadway style. Groups at the high school level and beyond will find the voicing accessible while the arrangement demands genuine musicianship and theatrical presence.

• Lock the rhythmic precision with your rhythm section early in rehearsal. The "hard-hitting" character depends on crisp attacks and releases across all three parts.
• Plan your choreography concept before sectional rehearsals intensify. The arrangement's theatrical DNA means blocking and staging enhance rather than distract from the singing.
• Balance the upper lines carefully so neither soprano part drowns the alto line. Shaiman's harmonies work best when each voice can be heard distinctly.
• Use the recorded accompaniment in your final run-throughs to lock ensemble entrances and builds without relying on a live accompanist during early rehearsals.

Open your concert or spring show with this piece to set a theatrical, contemporary tone. It pairs well with other pop choral selections or can anchor a Broadway-themed program. The pageantry and visual appeal make it ideal for pops concerts, competitions, or gala fundraisers where you want an immediate impression.

• Rhythmic precision in syncopated passages
• Blending three independent melodic lines
• Stage presence and theatrical delivery in a pop context
• Sustaining energy through dynamic builds
• Coordination between singing and choreography