Much loved improvised comedy troupe Men with Coconuts are making their final Fringe performances “for the foreseeable future” this year. Formed 14 years ago, the membership of group has evolved over time. In that time they have built up a loyal following on the Fringe, and have been one of the most consistently popular acts on PBH’s Free Fringe.
On Thursday (21st), they put on a special performance, bringing back some of the ex members of the group. This included Will Naameh, who has achieved very considerable success as MC Hammersmith, the ‘world’s leading freestyle rapper to emerge from the ghetto of middle-class West London’. This Fringe he has been performing his show Hippity Hoppity Get Off My Property to full houses at Monkey Barrel 1.
Polished and honed
Over the 14 years, they’ve really polished and honed their act, becoming incredibly consistent. This is no mean feat in the genre that’s very difficult to maintain consistency with. In every performance, they are feeding off the suggestions of the audience, never knowing exactly what will crop up. I’ve seen a number of improv shows which have got stuck in terrible dead ends, with plots that become unfeasibly convoluted causing the audience to lose track and lose interest. Having seen Men with Coconuts several times over the years, I’ve never seen this happen with them.
Sensibly, Men with Coconuts have generally avoided this sort of cul-de-sac by performing a series of games or activities during each show. This gives their shows a nice variety, as well as the opportunity to cut short anything that doesn’t quite work as they hoped. However, their experiences performers means they rarely get into awkward territory or, if they do, they are skilled at making something of it. Such moments are rightly commended by the audiences.
Staples of the Free Fringe
Charlie Hindley, a founder member, credits the Free Fringe with playing a key role in their development. With over a decade on the Fringe, the troupe are one of the staples of the Free Fringe, now regularly filling large venues such as the Liquid Rooms’ Warehouse. This wasn’t the case at the start. As venues are often only secured at the last minute, the Free Fringe is often associated with ‘challenging’ venues. Hindley recalls some less than brilliant venues, including one back bar that “smelt of effluent”.
However, Hindley believes, small venues and small audiences can help you develop your act. Hindley looks back at early Men with Coconuts performances and sees vast areas where they were weak. The Free Fringe provided the invaluable opportunity to develop their act, for which Hindley is very grateful. Having seen the troupe play over a number of years, I can attest to the way they’ve steadily refined their act. They’ve demonstrated a real commitment to their craft, resisting the idea that the Free Fringe is a home for the amateurish or the dilettante.
Cultural access
Interestingly the Men With Coconuts did switch to the paid Fringe for one year, seeking more professional support. They wanted to be able just to go into “a good space” and perform, without the other aspects getting in the way. The truth was that they found that they “made more money on the Free Fringe”, as they had already built a substantial following. The costs involved to appear at a big venue had cut into their takings. At a deeper level, Hindley relates that the experience of being on the paid Fringe “didn’t sit well with us”. They have now returned to the Free Fringe fold and have become evangelical about its role in improving cultural access.
An extremely special night
As the show on Thursday came to an end, Hindley thanked the players, the musicians, and audience for an “extremely special night”. The show had featured some of their favourite activities, including the highly amusing recreation of the first meeting of one of the couples in the audience. They finished with one of their 15 minute musicals. On this occasion it was titled, rather improbably, I’ve Got Crotch Rot. Despite the unpromising title, they forged something entertaining out of it, something which provided the show with a strong climax.
A high degree of trust
In my experience of watching the troupe, it has been their musical numbers, often with Steve Worsley leading the way, which has been one of their USP’s. On this occasion, it was Naameh’s ability to create a very decent song out of unpromising material (he was challenged to create, on the spot, a song which included six famous bells). It’s often these moments when the players have challenged each other onstage as brought the best out of them. That clearly derives from a high degree of trust between the players. They also clearly enjoy the challenge of going along with some of the wackier audience suggestions.
Taking a break from the Men with Coconuts will give each of the performers an opportunity to develop their own projects. Hindley mentioned that he might like to revisit and refresh his excellent, highly moving one-man show Eugene and Elvis, which he performed during the 2016 Fringe. Other members will have their own plans.
I’m sure we have not heard the last from Men with Coconuts.
Men with Coconuts are part of PBH’s Free Fringe. They play at Liquid Room Warehouse at 18.15 until August 24th.
