By Lynn Venhaus
Managing Editor
Spry actors Joe Hanrahan and Shane Signorino slip into 21 different characters
to play the denizens of “Popcorn Falls,” a daffy mix of vignettes designed to
showcase performers’ strengths while paying tribute to small-town personalities
– and the power of theater.

This average American town, whose residents prefer to be
called ‘kernels,’ has seen better days, and is in danger of bankruptcy because
their waterfall has dried up, no thanks to a new dam. Without their claim to
fame, tourists and commerce has vanished. But a greedy corporation is ready to
pounce, with plans to demolish the town and turn it into a sewage treatment
center. Can the town be saved?

Because of an old arts grant, they can get enough money –
but writing and producing the play must be done in a week — despite the lack
of a theater and experienced thespians. Shades of Blaine, Missouri, the center
of “Waiting for Guffman.” Or Mickey Rooney and Judy Garland practicing in a
barn – “Hey kids! Let’s put on a show!”

Can this absurd solution work?

Sure, if our dynamic duo of intrepid mayor (Hanrahan) and loyal
custodian (Signorino) be the heroes and rally the town with the grant money
dangling before them. But in the bigger picture, can art save the world?

You can clearly figure out playwright James Hindman’s
thought process. While the optimism is unwavering in this 2017 off-Broadway comedy,
the farcical material isn’t as amusing as the portrayals.

I don’t think it’s a coincidence that Popcorn Falls
resembles other quirky fictional settings that evoke warm and humorous memories
– Stars Hollow, Mayberry, Greater Tuna, Bedford Falls – heck, even “Frostbite
Falls” from “The Adventures of Rocky and Bullwinkle.” It provides the basis for
wacky characters and nutty situations, even if it’s derivative.

The pairing of Hanrahan and Signorino is inspired, with their
skills and talent enough to convincingly conjure up a cadre of zany townsfolk.

Hanrahan’s Ted Trundle, the beleaguered new mayor on the
verge of divorce, shares quite an interesting backstory. He is counting on the
neighboring county’s budget committee to bail them out, and enthusiastically
gathers folks at the library to cobble together the plot. Well, this turns into
a free-for-all what-did-I-get-myself-into scenario.

Signorino’s main man is head custodian Joe, who is shown at
work and at home. He frets about supporting his growing family if the town goes
belly-up. He also transforms into the majority of characters – including a
female bartender at The Sudsy Mug (as does Hanrahan), her precocious young
daughter, the dramatic cat-lady librarian who fancies herself an actress, the
snaky corrupt county official, dim but well-meaning sheriff, the one-armed owner
of the lumber yard, and a chain-smoking middle-school teacher with a vivid
imagination. Hanrahan portrays the local mortician who wants to act in the
show.

Both stalwarts of the local theater community, Hanrahan and
Signorino work together in the manner of classic comedy duos, manic improv
pairs and old-timey vaudeville/variety acts. They know how to work a crowd, with
Hanrahan basically the straight man to Signorino’s goofy multitudes, and can easily
switch into various roles.

In an impressive turn, Signorino rises to the demand of
performing all his characters during the original play’s dress rehearsal.

Instead of costume changes, the characters are
distinguished by vocal adjustments, attitudes, posture, and perhaps a hat or
accessory or prop.

This is the kind of show The Midnight Company excels at, usually
one-acts with little frills but ambitious and often unique and interesting
material, realized by a strong but small cast. Director Sarah Whitney has deftly
guided the pair for maximum madcap effect.

If at any time it is confusing, that’s the fault of the thin
script and not the nimble actors. Hanrahan is nearly in view the entire time
while Signorino rushes about to accommodate the others. The pair seemed to be
having fun — but the parts are a challenge because of the fast pace.

The simple staging in the Kranzberg Center’s black box gives
the men a small space to fill with their clever characterizations in the
well-worn “play within a play” format.

Chuck Winning has designed a functional bare-bones set, replicating
a budget-strapped town hall meeting room. Scene changes are announced on a small
blackboard, and it would help to clean the board every night, for the layers of
chalk dust make it difficult to read the later scenes.

Tony Anselmo created a straightforward lighting design that
works well within the small confines.

Even though the material is lightweight, Hanrahan and
Signorino do considerable heavy-lifting, and they muster enough charm to sell
it, along with their sincerity and veteran work ethic. Now, if only the squirrels
wouldn’t chomp on the town hall wires because Popcorn Falls can’t afford traps.

The
Midnight Company presents “Popcorn Falls” Thursday through Saturday at 8 p.m., March
28 – April 13, in the Kranzberg Arts Center blackbox theater. Tickets are
available through MetroTix.com. For more information, visit www.midnightcompany.com
The play is performed without an intermission and is 85 minutes long.

Lynn Venhaus

Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications. 

She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents. 

She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.

She is retired from teaching journalism/media as an adjunct college instructor.

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