Hello, I feel like I should formally introduce myself, I’m Charlotte (well Lotty) and I’m a producer at Chronic Insanity, specifically for the 3 in 3 spring season. You might be wondering what I’ve actually done (apart from writing a section of Flavour Text, which if you haven’t seen yet you should go and do immediately after reading this) as the producers’role can be shrouded in mystery. We have been described as magical unicorns, but sadly its often a lot less magic and a lot more maths. But even though I don’t fart rainbows or own a working wand I do adore my job and I have been so proud to produce this season for Chronic Insanity!
After working with Chronic Insanity on 52 Souls last year, I was thrilled to become an associate artist and jumped at the chance to produce a season with them. Being a writer myself I adore new work and working with writers to tell unique, important, and diverse stories in ways you might not expect. Stories are how we connect to one another, celebrate, or challenge our history and forge new ways forwards. But today we can also do all of this through social media and the internet. This is why creating innovative digital work that allows stories to flourish in interesting, accessible digital spaces excites me. So, I guess you could say that 3in3 was the perfect project for me. Rather than take you through the producing process in its entirety (as I don’t want you to fall asleep or hate me) I’m going to share some highlights, challenges, and the lasting lessons this season has taught me.
An obvious highlight has been meeting and working with the other talented creatives who have been at the heart of this season. It has been a joy to write and produce alongside them, as well as watch them in action throughout the three productions we have created. This year has been such a dark time for artists, especially freelancers, and the opportunity to employ, encourage and engage with artists up and down the country has been invaluable. Another is seeing the productions in full. I’ve been so lucky to work with such talented creatives on and off stage/screen and the technical knowledge Chronic has as a company still amazes me!
Moving onto challenges, one thing that sticks out to me was funding. We were extremely lucky to be granted ACE funding for the season and working on the application, while always a learning experience, was stressful as we knew that especially during Covid-19 competition for funding was extremely high. I’ve never been very good at waiting for things so waiting the six weeks for a decision is always challenging and full of second-guessing things I could have included, phrases I should have used and more. But our Artistic Director, Joe was so supportive during the writing process, and in keeping me sane after submission.
Personally, what I’ve found interesting above all this season is watching the response to our work first hand. How the boundaries of theatre, both live and digital have been pushed, tested, and moved during the past 12 months. The work we have created has to many (including some of our reviewers!) begun to redefine digital theatre in terms of how it can be presented, who can make/access it, as well as how it can stand alongside traditional live work. No one wants to banish live theatre, me especially as associate producer of a fringe venue, but we have begun to show how theatre can reach larger audiences that may feel traditional work is inaccessible to them, or just not made for them. This saddens me as theatre has always been my escape, my safe space, and a lifelong joy. To me it’s for everyone regardless of location, economic or social status or ability. I believe Chronic Insanity, as well as all the other digital theatre produced this year has begun to show that.
I am so proud of the three shows we have created over the past three months, and cannot wait to work with Chronic Insanity later in the year on even more exciting projects!