Will Kenyan stand-up comedy ever grow?

South African comedian Trevor Noah has beaten hordes of experienced rib-crackers to clinch the most coveted spot on American late night television.

The 31-year-old comedian is set to replace Jon Stewart, whose 17-year tenure hosting the show has elevated it to global heights.

While the few who know Noah were ecstatic about the news, his selection elicited mixed reactions. American news outlets were up in arms over the selection of an unknown newbie to one of the most iconic positions in comedy.

Trevor has appeared on the show only three times, with satirical pieces that didn’t sit very well with sections of American audiences because they challenged their biases against Africa.

During an appearance on the show, he said, with a wry smile: “I never thought I’d be more afraid of police in America than in South Africa... It kind of makes me a little nostalgic for the old days, back home.”

 Trevor’s selection, refreshing as it is may be, has left analysts examining the state of Kenyan comedy. In an interview with the Nation, Dr Ofweneke, said:

“As African comedians, we are really proud of Trevor. He has exposed our potential to the world, but we need to challenge ourselves, especially in Kenya.

We don’t think far; most of us are 10-minute comedians. We are too busy enjoying the little success we have. We’ve achieved a lot but we have a long way to go. I am actually pushing myself to do one-hour shows and to come up with material that’s global.”

Other analysts attribute the stagnation of Kenya comedy to dwindling public support. Kenyans, it seems, support their local stars only when they acquire global status.

A case can be made of Lupita Nyong’o, Victor Wanyama and McDonald Mariga, who lived in obscurity till they made it on the global arena.

Despite writing, co-directing, co-producing and acting in one of Kenya’s finest series, Shuga, Lupita was still relatively unknown until her appearance on 12 Years A Slave.

“We are in a global village; anything is possible. Kenyan  comedy is changing and growing everyday,” Churchill explains.

“You never know, Profesor Hamo may be the next Trevor. Today Lupita is in Holywood and she wasn’t even the best actor in St Mary’s school. Our comedians can make it anywhere, but we lack management and creativity.   

With a mastery of six languages, Trevor knows how to contextualise his jokes for any audience. His cunning mix of wit, dead pun, satire, and slapstick is unmatched. His jokes challenge you to think about serious issues, while laughing your head off.

Trevor, to his diehard fans, is up there with the likes of Eddie Murphy and Redd Foxx.

He’s got the Richard Pryor shock effect, the Chris Rock outburst, and satire that almost marches Jon Stewart’s. His sets are well written, appealing layers of excitement, as the story unfolds around a central theme. He walks a fine like between absurdity and clean comedy. He is set to pick up fans from all sides of town.

In contrast, our Kenyan acts have become one-trick ponies that are sort of funny until they are not. They dish out disjointed slapstick humour on trending tribal topics; un-researched contents that over rely on accents. Some comedians even rewind jokes aired on national TV two years ago.

Common excuse for mediocrity

The common excuse for this mediocrity is that Kenyans are not ready for serious comedy. But the growing popularity of Russell Peter, Jeff Dunham and Basket Mouth, among others, proves this analysis faulty. 

Lawrence Terrence is the muscle behind Kenyan comedy, with extensive experience as a stand-up comedy, writer, director and producer.

He has mentored artistes like Teacher Wanjiku, Butita and Smart Joker. He has written and produced for Churchill Show and Eric Omondi’s Untamed. He is the creative director for Jalango and develops content for several shows on Ebru Africa.

“Standup comedy is a team sport. You can’t be the writer, director, producer and performer. Kenyan comedians are lazy,” he admits.

“They only listen to you when they are coming up, but once they get a little success they grow big heads. That’s why we keep rewinding the same tribal jokes that were funny last year. It takes a team of 10 at least six months to research and write a solid show.

I have written or re-written a good number of jokes that Kenyans have enjoyed but we never get the credit. It takes more than talent to make it to the top; we have to work as a team; comedy is serious business.”

It is obvious that Kenyan audiences are disillusioned by the local content. Blogs and articles calling for a change of guard have received heavy rotation.

If the tide is to change, one-hour comedy sets need to be the norm, not the exception. Kenyan comedians need to start producing specials and attracting audiences beyond the diaspora when they tour.

Audiences are demanding for artistes who back their standup comedian title with an even bigger performance. Comedians need to engage writers and researchers to develop new material.

Some comedians should probably consider writing — like Wanda Sykes, who won an Emmy for her role in the writing team of the Chris Rock show in 1999 before starting her own show in 2003 and consequently starring in movies and TV shows.  

To their credit, making people laugh is actually a daunting task that requires creativity and a keen understanding of the human psyche.

These rib-crackers can’t afford to have a bad day because the hungry masses want their daily dose of giggles. They also can’t call in sick or recycle a joke, because the mob will crucify them. Someone has to do it, and do it right.