Writer and Director: Simon Kane
At its core, Jonah Non Grata is a retelling of the Book of Jonah—but this is no ordinary biblical adaptation. Simon Kane expands the story’s universe with songs, jokes, tricks, hymns, and a magical choose-your-own-adventure book to explore themes of power, choice, existentialism, responsibility, and love.
The show unfolds in three stages: Fight, Flight, and Mariott. The first is chaotic and playful, as Kane transforms the stage into a surreal church service where the audience is invited to participate in a variety of symbolic activities and games. The second, where Jonah is swallowed by the whale, becomes mesmerising—both visually and emotionally—as Kane’s physicality and the stage lighting transport us into the slow, swaying stillness of the whale’s belly. The third is absurd and profound, as Jonah finds himself in a hotel room delivering God’s message to Nineveh by calling everyone in the phone book. It’s like a church service in a parallel universe—but it’s also like a video game, a movie, and a piece of performance art, all delivered by a divinely commanded clown.
Kane’s performance is extraordinary. He fills and commands the entire room, transforming his voice and body with astonishing range—from bold, booming singing to the squeak of a prophet trapped in a whale, to clumsily discussing and debating the course of the adventure with the audience. During the second stage, he stands so upright and still, it feels as if he truly is submerged, swaying in an underwater world. With such masterful control of his physicality, he appears to shape-shift before our eyes.
He also has an uncanny ability to shatter theatrical illusion and rebuild it at will. One moment, he completely dismantles the stage by talking to the lighting technician, calling for the house lights, and inviting a volunteer to read from the choose-your-own-adventure book. The next moment, we are enveloped in a high-production spectacle, with cinematic lighting and sound, as though we have been swept into a movie. The experience is unpredictable, but Kane never loses his grip on the audience, whether he is absorbing our attention or commanding it.
The show’s comedy thrives on the contrast between the divine and the human—the grandeur of God and the clumsy awkwardness of the prophet. The soaring, dramatic soundtrack meets Kane’s offbeat delivery and hesitant phrasing. His clapping is comically awkward, his magic trick delightfully underwhelming, and he often checks in with the room—“Can we all hear?” He welcomes both laughter and awe.
Kane has described the show as a modern-day mystery play, and it fits into this tradition through its ability to provoke spiritual contemplation. It is so thematically dense that you could discuss it for days on end, but it is also an absolutely joyous, in-the-moment experience.
Reviewed on 19 July 2025 and goes to Edinburgh Fringe
The Reviews Hub Score
Divinely commanded clowning