A Year in the life of The Hannah: More space, more artists, more play

As The Hannah’s General Manager Eleanor Strathern marks the milestone of a year in the job, we reflect on the year that’s been, the progress that’s been made, and everything still to come. 

Generally speaking, The Hannah is buzzing. Not just with audiences coming through its doors, but with the sheer volume of artists enquiring about space. Demand has risen sharply over the past year, proving what many already suspected: Wellington needs a place like this. A place to play, experiment, and build work beyond the scale of a rehearsal room, without the financial or logistical leap to larger theatres.

Eleanor describes her role as something of a juggling act. Part artistic director, part performing arts champion, part problem-solver. Some days it’s about programming bold new work, other days it’s about light switches, plumbers, or varnishing the bar. 

“It's been juggling everything from managing the artistic direction to the lightbulb fixtures. It took me four months to find all the light switches. I truly thought that there was just one worker light in the theatre, but actually there's a second!”

But behind every practical detail sits a bigger truth: the daily ‘to do’ list is what makes the magic possible. Because when the house lights dim and the theatre comes alive, life is beautiful.

One of Eleanor’s proudest milestones, she says, has been the unveiling of the refreshed brand. More than a revitalised logo, it has given the building an updated identity that finally matches its reality: bold, colourful, and contemporary — just like the art inside. 

“The logo itself… is very representative of the architecture that's been on this site since 1973 and is now Heritage 1 listed,” Eleanor explains.

Drawing inspiration from the building’s iconic look, and injecting vibrant new colours, the refreshed brand signals that The Hannah is alive, relevant, and open to every genre, from circus and cabaret, to music and dance, to stand-up and immersive theatre.

And it is a declaration that The Hannah belongs to the now. It tells artists and audiences alike: this is your space, and it’s as dynamic as the work it hosts.

The Hannah has taken cues from Downstage’s early days – its spirit of flexibility and its role as a springboard for new ideas. 

“We're trying to reinstate some of the things that Downstage was doing in the early days, like the flexibility of the theatre.”

What began as a logistical experiment with a new seating block, has become an art form in itself, giving companies the freedom to stage bold configurations, and audiences the thrill of seeing the familiar theatre anew.

“I'm really proud that we've gotten faster and faster at removing and rearranging the seating block. We're better and so much faster at using our own tools.”

Today, Eleanor proudly explains, The Hannah exists to fill a crucial gap in the arts ecosystem: a professional venue that gives artists room to scale up, test ideas, and refine work destined for larger stages or international tours.

“We've had quite a few independent collectives come through and upscale their work… they've tried an idea out here, and then they have reworked it with international goals in mind. We can see with companies like EBKM and Binge Culture that they're achieving those goals, that they're then getting programmed into bigger spaces.”

You don’t have to premiere at The Hannah, but you can grow your work, and that growth is what The Hannah is here to support.

Just as important is The Hannah’s subsidised pricing model. Through the partnership with Wellington City Council and being able to keep hire costs affordable, The Hannah ensures that independent artists can access a professional space without prohibitive costs. 

“It's an immense privilege of my position to be able to offer a sliding scale pricing model to artists. I think we would see fewer Wellington artists if it wasn’t as affordable.”

With this pricing model comes a calendar that hums with activity from independent artists, and enquiries aplenty.

The Hannah sits on an intersection, literally and figuratively, of collaboration and partnership. Downstairs The Tasting Room is a dedicated and vibrant hospitality hotspot, now fondly referred to as ‘the theatre bar’. Nearby theatres offer camaraderie and support, all feeding into the rich ecosystem of performing arts. 

Looking ahead, if 2025 has been busy, the horizon looks busier still. With residencies, new works in development, and a calendar already shaping up for a full 2026, The Hannah is steadily building on its mission: equal parts development and presentation, space to try and space to show.

One of Eleanor’s goals is for The Hannah to be seen to be approachable. “I want my office to feel like anyone can come and ask for advice. How to put on a show, not just when.”

While every day feels busy with logistics, Eleanor is quick to remind herself what it’s all for. In those moments when the lights go down and a show begins, the theatre’s beauty shines. It’s proof that the maintenance, the emails, and even the countless light switches, are all in service of something bigger.

The verdict from artists and audiences alike? “Wonderful.” That’s the word Eleanor hears most often, and it’s hard to disagree. The Hannah isn’t just open; it’s alive, generous, and essential. A place where art is made, remade, and made possible.

If you’d like to reach Eleanor directly, you can email her at eleanor.strathern@wcc.govt.nz