She additionally factors to the concept of separate corporations working collectively to share sources “whether or not it’s sharing wardrobe or whether or not it’s sharing among the inventive facet”. It’s a tough prospect, she suggests. “I simply wonder if a few of these issues can occur. However it’s in all probability all the time going to be exhausting.”
Hansen says that over time, via donations, bequests and contributing surplus from the MTC’s operations, the concept is to construct the final endowment fund – which is managed via the College of Melbourne – to a degree the place the curiosity gained can be utilized by the MTC nonetheless it finest sees match. The fund ($5.7 million as of 2022) isn’t fairly there but, Hansen says, “however virtually”.
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Hansen leaves a major legacy from her 9 years with the MTC. Along with championing the final endowment fund, she has overseen vital modifications within the board, in addition to the implementation of the brand new management workforce of creative director Anne-Louise Sarks and government director Sally Noonan, who additionally work collectively as co-chief executives.
Hansen’s dream is that sooner or later, Melbourne’s theatre tradition shall be akin to the West Finish – for audiences to have that very same “depth of entry and appreciation”. Correct funding, she says, is step one. After that: “Crucial issues I believe for me in theatre are good lighting, good writing and good appearing. And in case you have these three issues, you’ll be able to virtually do something.”
