Total run time: 1 hour 37 mins 22 secs.
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About Charlotte Austin…
Charlotte Austin started her career at Just The Tonic before moving to become an agent at Red 24. After a few years of working there she (along with the co-founder of Red 24) co-founded CatFace comedy. CatFace is a comedy talent agency which focuses on the live diaries of comedians.
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Here’s a list of questions we covered…
- Why did you set up CatFace? What differentiates it from Red24? [5 mins 10 sec]
- Just The Tonic
- Debi Allen
- What do you think of the movement by more comedians to manage their own calendar? Do you think this is partly to do with the internet making it easier to book their own work, or because there’s too many comedians to agents?
- Do you think it’s easier for performers to take charge of their live work? [19 mins]
- What do you look for in an act? [10 mins 57 secs]
- What exactly does CatFace do for its acts? [34 mins 35 secs]
- How does CatFace approach acts and the process between seeing an act live for the first time to signing a contract. [24 mins 20 secs]
- What reviewers do you read to keep track of the industry? [39 mins 50 secs]
- Bruce Dessau [Podcast]
- What do you think of student reviewers? [40 mins 40 secs]
- How hard is it to sell a comedian to a new promoter? [12 mins 18 secs]
- Do you need to see an act die before you can book them? [11 mins 33 secs]
- You take care of everything for a performer from booking the gig itself to the travel and accommodation, what percentage take do you get for such a service?
- What are your aims for your performers? Do you want them all to be famous? Happy? Sustainable?
- Are there any areas of CatFace which you think could be improved or you are aiming on improving in the future? [13 mins 34 secs]
- The value of social media for a performer. [15 mins 50 secs]
- What do you think it takes to be a good agent?
- When do you think a performer should approach agents? Or should they at all?[9 mins 17 secs]
- You’ve got quite a different mix of acts, the BBC has recently made a big deal out of making sure that their panel shows have a varied bill (including “at least one woman”) do you think this is a positive or negative thing?
- Do you have a varied selection of acts because it makes business sense to offer the widest choice of styles of comedy to potential clubs or do you do it for your own interest in the performer or both?
- Do you think positive discrimination is a good thing?
- What do you think of the claims that live comedy can often be a “boys club”?
- You do a lot of corporate bookings, what do you think makes a good corporate comedian? [45 mins 36 secs]
- Comedians often complain about this type of gig (but never about the money) do you think it’s the best environment for comedy? [49 mins 35 secs]
- Ellie Taylor
- Does comedy ever work at corporates? [46 mins 35 secs]
- But you basically want to know, what’s a good reason to need to work with an agent. Is needing tour managers / promoters to take you seriously enough of a push and do you think it’ll always be that way? Is this filtering system sustainable ? [54 mins 21 secs]
- Who works for who? [19 mins 51 secs]
- Do you think agents should specialize? [20 mins 36 secs]
- Do you think comedians can make a living on just the live circuit? [22 mins 25 secs]
- A lot has been said about the live circuit being in crisis. Do you think this is true? [1 hour 01 mins 57 secs]
- What are your thought on free shows in the capital?
Live Edinburgh Fringe Tour Promotion
- What do you do to promote a tour? [1 hour 18 mins 30 secs]
- Do you think a “good show sells itself”? And how much promotion does a good show need? [1 hour 18 mins 30 secs]
- Favourite clubs (to go to and to book) [1 hour 16 mins 03 secs]
- Have you ever tried stand up? [1 hour 20 mins 10 secs]
- Book / show recommendations? [1 hour 25 mins 10 secs]
- Advice for unsigned comedians [1 hour 31 mins 30 secs]