ME AND MY YEAR OF CASUAL MONASTICISM
Edinburgh Festival Fringe
★★
“The piece works neither as an intimate confessional monologue nor as a sharp comedy”
‘Me and My Year of Casual Monasticism’, written, directed, and performed by Emily Knutsson, is about a semi-autobiographical piece about a Cambridge University student who chooses to become celibate for a year. Inspired by the sixth-century Rules of Benedict, ‘Mary’ encounters a host of horny ‘fellow sexy monks’ (other students) whom she heroically wards off with her monasticism. As a Cambridge graduate who studied medieval and early modern history, I hoped I would love this show.
The tiny stage at Riddle’s Court hosts an armchair, some candles, a crucifix, and a projector: Mary tells the story as a pitch for a show. Knutsson is an engaging storyteller, but she seems self-aware and unsure of whether she is playing a character or not. It doesn’t help that she’s hiding behind the powerpoint, projected onto a screen behind Knutsson that she’s perpetually blocking. The ‘presentation’ keeps her in a one-note, upbeat TED-talk mode that leaves little space for vulnerability and thus variation. The issue originates from the script.
Ostensibly a comedic confessional piece, Knutsson does not ever allow her character to be uncomfortable, embarrassed, or indeed much other than the Hot Girl Who the Boys Want But Can’t Have. Mary tells us she has chosen to take a break from dating and sex after ‘a few traumatic weeks’ in the first term, which despite being the catalyst for her self-imposed celibacy are not elaborated upon. Additionally, something unpleasant/bad/shameful happened with her ex boyfriend, but what that was remains elusive. Every time Knutsson begins to mention sex, she (metaphorically) slaps herself on the wrist and swiftly moves on – rather surprising for a show that advertises itself as offering a ‘shockingly fresh and innovative approach to sex’.
If Mary’s actual life story remains underexamined, the same is true for her early medieval fantasy. The allegory between a Cambridge college and a monastery works well, precisely because various colleges (including my own, Magdalene) have monastic foundations. Many universities, including Oxford, originated as centres of monastic education. Highlighting the similarities between medieval monks and modern day students has theatrical potential, if only Knutsson had doubled down on her theme.
While the Rules of St Benedict form an effective narrative device that lends the show cohesion, their imagery and cultural context are underutilised. For example, it is striking that Knutsson completely omits a discussion of religion, of church-imposed sexual shame, and the concept of sin. Ecclesiastical imagery is infinitely rich, yet Knuttson does not take advantage. Given that Knutsson shies away from exposing too much detail about her/Mary’s life, it would have worked well to exaggerate her chosen allegory to the absurd. Where is the scene in which Mary takes a melodramatic vow of celibacy in her college chapel? The dramatic disposal of her collection of sex toys into the communal bins? And where is her goddamned monk costume, styled from her formal gown? (I jest, sort of…)
The piece works neither as an intimate confessional monologue nor as a sharp comedy. Inattentive to its historical references and shy of revealing personal details (real or fictional, I could care less), the script unfortunately falls flat. The story has potential; no doubt a second pair of eyes, perhaps in the form of a dramaturg or a director other than herself, would help to remedy some of these issues.
ME AND MY YEAR OF CASUAL MONASTICISM
Edinburgh Festival Fringe
Reviewed on 15th August 2025 at Pickle Studio at Greenside @ Riddles Court
by Lola Stakenburg
