Comical qualms

By Geoffery Korio and Sheila Kimani

In one of the most unanticipated moves, a month ago, a top local comedy act behind the popular Crazy Monday partnering with Kenya Kona show split up fuelling a fresh round of speculation in the fast growing laughter industry.

Unbridled rivalry emerged among stakeholders; with cartels forming as each hassled to get hold of the comedy industry, with the battleground moving to TV and then to corporate sponsors.

Pitching concepts to leading media houses in search for the highest bidder, comedians are not laughing about the fact that they want a slice of the pie. It is certainly not funny when friends go ahead and backstab each other as deals start being cut under the table.

One of the leading comedians in the country recently confirmed in an interview that he would not take anything less than Sh50,000 for an ordinary show. When approached by corporates, the figure is higher.

When pitching to media houses, the big shots in the industry get sponsorship to buy slots and make money running into the millions from advertisements.

In-house productions also get funded, anything from Sh70,000 upwards per episode. This may not be much for those who are still seeking to make it into the industry especially if they have to split it amongst a troupe, but there is no denying that they make good money.

Another thing that has made the industry competitive is the huge disparity between the high-earners and those seeking to make it, with the usual under-cutting lurking in the background.

Fred Omondi and his troupe are now the new kids on the block running the new rib cracking Crazy Comedy Show in KTN. The Kenya Kona offshoot left its organisers seeking for plan B as they headed to Citizen TV where the show is about to be re-launched.

Even before the dust settles, Churchill Live is set to launch the new season before the end of this month.
It is not clear which station will have the rights to air the heavily sponsored show as Nation TV, which used to air it, still has JB Masanduku’s Comedy Club running every Monday.

Huge offers
As if that is not enough, during an interview with Pulse, Chipukizi confessed that one of the groups considered as a rival to Churchill Live show attempted to buy him out in an effort to get him off the Churchill Live show.

He even went ahead to say that another group stalked him day and night as they wooed him with good offers.

And in a similar move with yet another production, three weeks ago, Erick Omondi ignored an awesome offer in an attempt to have him ditch the Churchill Live show.

Forget the old days when Redykyulass dictated the market, comedy has become big business in Kenya, it is now cut-throat competition that has stirred bitter rivalry between the rib crackers.

Another group led by a production house named Two Eyes Media Production and led by actress and producer Josephine Mueni is also on the rise with female comedians arising to claim their stake.

Eric Omondi points out that the spirit of comedy has woken up and as people leave to host their shows it’s an indication of healthy competition.

“It shows that the comedy industry is growing. There is more talent and more jobs for the upcoming comedians,” he says, adding that he is grateful comedians who grew under his show can now stand on their own.

Aside from these there is more than what meets the eye as various aspects are beginning to take their toll on this exponentially growing industry.

Discrimination claims

In the guise of unison and togetherness, some producers and directors have noted that upcoming comedians are subjected to discrimination and manipulation.

While some sponsors will go for established comedians, there is no platform for the upcoming artistes.

Director Antonio Noriega notes: “The TV comedy show are good but the question is are the comedians being paid good cash? Can they live off comedy?”

“I really can’t say it’s a matter of discrimination but the producers and sponsors do not believe in upcoming artistes and that’s why they go for the known names,” Emmanuel Makori aka Ayeiya asserts.

The established comedians who are the faces of the new comedy TV deals could cut good deals with sponsors and host stations, but still end up paying peanuts to volunteer performers, who make the shows rock.

Besides, these platforms are the only avenues the upcoming artistes can use as avenues to establish themselves and are, therefore, left with no choice but to settle for whatever deals they are offered — no matter how little.

“It’s a matter of hardwork and research and those who don’t make it will look for an avenue to start launching their complaints,” says Jalang’o.

Chipukizi, who most people refer to as Churchill’s project, also admits that the art is not as easy as it seems. At times one will do a gig and get underpaid; a reason why some comedians drop out of the art.

“There is room for growth and artistes should make a name for themselves before demanding huge fees,” notes Churchill.

“I think the first aspect the upcoming artistes should focus on is professionalism. If one is good enough to create jokes that can make them unique, then the market will embrace them and they will blow big,” he remarks.

According to Churchill, comedians are expected to put a lot of time on their research as well as rehearsals if local comedy are to rise beyond ‘tribal and ethical’ stands.

Quality productions

“It is good we now have many comedy actors. What we now need, beyond the so called rivalry is quality productions,” Churchill quips.  

Another observation that Fred Omondi points out is the auditions done by some of the creative teams.
 

“They promise to get back to artistes after auditions only to go ahead to use their jokes during their shows never to give you a call,” Fred says.

“Much of the rivalry between the big shots and upcoming artistes stems from the fact that more established comedians infringe into what can be termed as intellectual property as they copy jokes during rehearsals and go ahead posing like they are the authors of the art.

“It happens everyday but there can only be one Jalang’o, one Eric Omondi and one Churchill. Besides, I consider it to be a good thing because it makes us pace setters and mentors,” Jalang’o says.

“I did very many free gigs before I got to become a brand and so they should also be patient. In fact, I am grateful to Churchill for getting me this far,” he concludes.