people who travel. A lot of comics end up
travelling a huge amount and it is extrememore than I have been at home, which I enjoy, but which can be tiring and disruptive.”
Thirdly insists on getting everything in writing, as it is “vital to have written agreements
with everyone you work with - artists, venues, festivals, publicists - everyone. Keeping a paper trail is so helpful when questions
arise”. Lastly, Brotchie insists that you are
nice to everyone. “I mean, this is just a rule
for life, but in production it is really important.
The person teching your show today could
be the person curating a festival next year.
Also, the people working at the venue box
If you can build good-will around your projects, they are far more likely to be popular.”
eph Brotchie
production and art the better. A producer
is much more capable of championing a
show when they have a good understanding of where that show has come from.”
In her time as a producer, she reveals four
big lessons that she has learned. Firstly,
“you need to be the one that tells the world
about an artist. Often, self-promotion is an
artists to do. As a producer, you are of
weight to the idea that they are worth investing in”. Then, there’s the issue of travel. You must be prepared to join your acts
wherever they need to