Under the Jello Mold

Reviewed by Dana Martin
Whitefire Theatre
Through November 12th

Playwright and performer Jennie Fahn tells a personal tale that seems to hit too close to home: her mother’s death. Under the Jello Mold recounts the life and final days of the playwright’s mom; — a colorful and often overbearing personality. The one-person play (an award winner at the 2017 Hollywood Fringe Festival) is full of humor and charm, though sometimes it feels more like therapy than storytelling.

The play lacks subtlety, though, as does Jennie’s mother — an overbearing, less-than-tolerant Jewish woman in her twilight years. She’s not afraid to tell it like it is — or at least how she sees it.  She’s crude and lovable, and certainly unforgettable. It’s impossible to get Mom to speed up a story; she’ll get to the point when she’s good and ready. It’s impossible to impress upon her what is racially and/or culturally insensitive, even though she works at the Museum of Tolerance. It’s impossible to assume that she’ll ever demur, defer, or save face. She’s not that kind of woman. And she’s the star of the show.

Fahn explodes with energy in a physically charged performance, punctuated by a lengthy song and dance break. She assumes her mother’s persona through most of the show, effectively capturing her grandiose personality and tendency for embellishment. Despite the charged energy of her performance, the tempo of the play as a whole is often too slow. Her best work comes when Fahn bounces quickly between multiple characters. She explores emotionally charged moments in the final scenes of the play and one gets the sense she is still in the middle of her own personal grief.

Director Tom Cavanaugh keeps the stage sparse and the scene transitions clipped. Derrick McDaniel’s lighting design feels warm and textured. The lighting helps fill in the world and helps the transitions feel smooth and fluid. The use of projections do little to heighten the storytelling. The best use of projections comes during the curtain call, when a picture of Fahn’s mother appears. It’s the first and only time the audience connects emotionally to the imagery.

There are clearly unresolved feelings the playwright has regarding her relationship with her late parent. But ultimately, Under the Jello Mold is a kind and loving tribute to a dominant and unique personality. She lived large. Her enormous personality has been given new life by her daughter.

That’s love.

Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks; Sat., 8 p.m.; Sun. (11/12 only), 3 p.m. and 7 p.m.; through Nov. 12th. (800) 838-300 or brownpapertickets.com/event/3053655.  Running time: 90 minutes with no intermission.