★★★★

“Nation-Dixon is a subversive writer and astute character actor”

Margot is not your average vicar. But then again, that begs the question – who is? Stage and screen have tended to support that there is no such thing anyway judging by – among many others – Andrew Scott’s ‘Hot Priest’ in “Fleabag”, The Simpsons’ ‘Reverend Lovejoy’ and of course ‘Father Ted’. But Margot is less average than most. Being female, she represents just twenty-five percent of women clergy within the Church of England. A point that Mimi Nation-Dixon makes early on in her quirky and punchy one-woman show, “Sit or Kneel”. It is only fairly recently in fact (1994) that the first woman was ordained – a landmark that Richard Curtis was quick to take advantage of, for comic potential, in “The Vicar of Dibley”.

Nation-Dixon’s show has taken all of these influences on board, but with added bite and a more urgent sense of authenticity. A Master’s in Theology, she originally balked at comparisons to ‘Fleabag’ and ‘The Vicar of Dibley’ but has grown to acknowledge and be flattered by the similarities (who wouldn’t be?). Nation-Dixon digs deeper, focusing not so much on her gender as her sexuality. Yes, Margot is a female vicar, but she takes on inherently and traditionally masculine traits that she satirises to great comic effect (‘being a vicar used to be a great pick-up line…’). Margot cannot keep her lustful thoughts at bay whilst dishing out her sermons from the pulpit, and double-entendres fly like church confetti. There is also the added pun in the title of the play (which Margot makes somewhat explicit) that can also refer to the sitting or kneeling position during certain sexual acts (google it yourself… I’m not going to tarnish my own internet history).

But it isn’t all about sex. It is a by-product of a very human story. Nation-Dixon fleshes Margot’s character out, and adds some. We get to know many of her congregation. The eccentrics that frustrate, bemuse and amuse her. Sometimes they are voices in her head, sometimes they are us, and sometimes she slips into the character. The transitions could be slicker, but the essence is spot on. A slightly uncomfortable bit of audience participation stalls the momentum briefly, but she is soon back on track. She flirts with, rather than attacks tradition, which has a more powerful effect.

Nation-Dixon is a subversive writer and astute character actor. Slightly hyper and over emotional at times, she is in danger of overplaying the humour. But her charm is infectious, and we are also slightly taken aback at the sadness that eventually breaks through. A poignancy heightened by her choice of soundtrack, that includes hymns, requiems and choral laments alongside the likes of Harry Styles and Céline Dion. The mood fluctuates wildly, and the closing moments of the show are a touch ambiguous, leaving the audience momentarily unsure whether to start the applause or not. But when it does start there is no ambiguity in its appreciation.

Nation-Dixon is a very watchable and charismatic performer. Earnest and honest; self-deprecating and funny, messy and loveable. Also sharp and funny, she can move from light to dark in a whisper. Her character, Margot, is accused of being a hoax by the object of her unrequited desire. But nobody can lay the same charge on Mimi Nation-Dixon. Her show is the real thing.

LOVE QUIRKS

The Other Palace

★★★

“the energy truly kicks in as the quartet come together with some powerful harmonies”

Quirk (/kwəːk/): 1. A peculiar aspect of a person’s character or behaviour (noun) 2. (with reference to a person’s mouth or eyebrow) to move or twist suddenly, especially to express amusement or surprise (verb). “Love Quirks” – a new musical with music and lyrics by Seth Bisen-Hersh and book by Mark Childers – incorporates both the noun and the verb in its title. Indeed, ‘love’ is very much a fifth character in this intimate four-hander, complete with all the quirks imaginable. However, despite some genuinely funny moments, there are few twists and fewer surprises in what is essentially a song cycle rather than a fully-fledged musical.

There are eighteen numbers, spread evenly across two acts, that attempt to cover all aspects of love as experienced by four flatmates. Unrequited love is the dominant theme, but we are also offered insights and anecdotes exploring the minefield of dating, marriage, divorce, rejection, one-night-stands, sexuality, sex, romance, peer pressure and expectations. A mix of solos, duets and ensemble pieces, they are delivered with vigour and virtuosity by the cast and there are some beautifully tender moments. There is a tendency, however, to belt out the numbers; a technique that overflows into the dialogue. Moments of high emotion too often come across as mere shouting.

Flatmates Stephanie (Clodagh Greene) and Lili (Ayesha Patel) share their rented accommodation with gay best friend Ryan (Lewis Bear Brown). Although for Lili, Ryan is more of a best friend – she has harboured an unrequited crush on him since her schooldays. Ryan announces he is moving out and sublets his room to Chris (Tom Newland). Chris and Stephanie have history. They dated long ago, and Stephanie holds a bit of a grudge. Meanwhile they are both on the rebound: Stephanie is going through a divorce, and Chris is fleeing a girlfriend who cheated on him. Not wanting to be upstaged, Ryan too has his share of heartbreak. Only Lili is fancy free, although her freedom confines her in self-doubt and longing which steer her towards some dubious, drunken decisions. Basically, they are all pining for what they can’t have.

“It Never Works” – the opening number – sums this up and sets up the premise. It takes a while to warm up, but the energy truly kicks in as the quartet come together with some powerful harmonies. “Let’s Just Be Friends” continues the theme. The banter between songs verges on the inconsequential, and the characterisation lacks any real dimension. Childers’ script comprises chit chat rather than any real narrative, much of which is predictable. We know where it is going, and there are clear signposts leading us to the next song.

The songs themselves are well crafted (except that nearly all of the numbers end on the same base-note, staccato button). “Darling, I Loved You” shows Greene at her most tender in a song that subtly segues into “Who Knows Why?” during which Patel picks up the lead melody. There is a well-balanced mix of quirky solo numbers and rousing duets and ensemble pieces. Act One closes with the titular “Love Quirks”, during which we can imagine the full sound of the composer’s dream, rather than the solo piano accompaniment. Pianist/Musical Director, Tom Noyes, adds dynamic character to certain songs that are in danger of sounding just like the last. “Just Get Over It” is a surprise tango that is a lyrical delight, although director Cecilie Fray could do more with the musical staging.

There is no denying that this is a fun musical. Innovative – not really. Shallow – perhaps. Cheesy – probably. “Love Quirks” has some fine musical moments that stand alone, which is just as well as the story line is too weak to support it by itself. The fine performances from a talented cast certainly keep it from falling in on itself. A more solid framework would make this a sure-fire, quirky hit.

SIT OR KNEEL

The Other Palace

★★★★

“Nation-Dixon is a subversive writer and astute character actor”

SIT OR KNEEL

The Other Palace

Reviewed on 22nd October 2025

by Jonathan Evans

Previously reviewed at this venue:

SIT OR KNEEL

SIT OR KNEEL

SIT OR KNEEL

LOVE QUIRKS

The Other Palace

★★★

“the energy truly kicks in as the quartet come together with some powerful harmonies”

LOVE QUIRKS

The Other Palace

Reviewed on 28th September 2025

by Jonathan Evans

Photography by Anna Clare

Previously reviewed at this venue:

LOVE QUIRKS

LOVE QUIRKS

LOVE QUIRKS

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