Sit or Kneel at The Other Palace (Studio) Review
Written by Becky K for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Content warnings: References of sexual assault, grief and suicide and eating disorders
Described as ‘Fleabag meets The Vicar of Dibley’, Mimi Nation-Dixon’s one woman show, Sit or Kneel, makes its London debut at The Other Palace studio. Bold, humorous and sometimes heartbreaking, Dixon’s show is a relatable exploration of identity and loneliness.
The story follows the subdued life of Margot. Having studied theology at university, Margot takes a career plunge that’s off the beaten track by deciding to become a vicar in a rural village. While she fumbles through the quiet local politics, it becomes more apparent that Margot is masking her declining mental health and her sense of self begins to unravel.
Sit or Kneel is conceptually very strong. Dixon uses the character of Margot to portray someone who is deeply insecure and lonely. Throughout her services and church meetings, Margot develops an attachment with local churchgoer Jonathan, who is the only male her age. She begins to analyse every interaction with him, flirtatiously reading into everything, which is where the titular innuendo ‘sit or kneel’ is born.
While externally eccentric and funny, Dixon’s narrative framing has a profoundly sad undertone. Margot desperately wants to be seen; craving to not only be desired, but to be understood. Dixon hints at Margot’s past traumas through her humour, but never goes into extreme detail. Traumatic narratives tend to come to the forefront eventually in one-person plays, but Dixon seems to withhold this information even from the audience while simultaneously, internally, begging to share. This provides a new and profound angle to a popular trope and distances the audience in what is (inherently) an intimate format. This is a great example of the show’s complexity.
Dixon is extremely charismatic, offering a versatile performance mixed with physical comedy and poignant storytelling. She was particularly funny when delivering her church services, making fun of the middle class countryside life in her prayer list, which would spare a thought for the local children who had violin exams and the housewives who had dinner parties to plan. The insincerity in her delivery is subtlety hilarious, and very in-line with Phoebe Waller-Bridge’s Fleabag, where it is overtly clear how Margot is genuinely feeling in every interaction.
Performing until October 26th, Sit or Kneel is a successful London debut for Dixon, which refreshingly delves into nuanced personal identities and complex emotions.
★★★★
