In her one-woman show, 'Get on Your Knees,' Jacqueline Novak goes deep on going down
. When I left the theater after the show, I had to Google poetry allusions I’d missed and ask my childhood best friend about the hand job technique we’d read about induring our desperate, eighth grade search for information on what one does with one’s hands while giving oral sex. tonal clashes are inseparable from Novak’s real-life high-to-low, oral sex-to-literary analysis conversational swings. They’re also an intentional squirm out of the claustrophobic grasp of characterization.
Though Novak is lovely and gracious in person, kindly encouraging the sharing of dishes and providing a much-needed correction of my pronunciation of the Italian pasta, her brand of adult-onset oppositional-defiant disorder gives Novak’s stage persona a deliciously dickish quality. Like her collaborators Birbiglia, Early, and Lyonne, Novak is deeply aware of her own flaws.
Jacqueline Novak photographed outside of Cherry Lane Theater in NYC on August 1st 2019 for Rolling Stone by Ysa Pérez Still, Novak says of her newfound abundance, “I basically think all things should overflow. When you get fries at a restaurant, the plate should be heaping. It should look like those are just the only fries thatit onto the plate. There should be an onion ring that appears as a mistake. To me, it suggests the right spirit in the kitchen. If something is too perfectly contained, it was too small to begin with.
I’m nodding, rapt with Novak’s lyrical transformation of the flaws of life into cosmic encouragement of joyous ambition. She finishes the thought with a rumination on her current area of focus. “It’s like with blowjobs,” Novak says. “Your teeth get in the way because there’s an insufficiency of the body’s ability to express a much larger desire. I’m, like, throwing myself on the altar of my attempt.” Novak contemplates the toothy blowjob for a second and smiles, baring her own incisors.
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