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STRATEGIC ARTS & CULTURAL CONSULTANT


       




Hi! My name is Madeleine Gandhi

I’m a theatre producer, arts manager, lawyer and freelance consultant. Based in Melbourne/Naarm, I’m the General Manager of a national theatre company, co-founder of an LGBTQIA+ arts non-profit, and one of Out For Australia’s 30 Under 30.

After studying at Sydney Law School and cutting my teeth on independent stages, I’ve channelled my corporate skills into Australia’s arts and cultural sector. I care about laying the groundwork for commercial pathways and sustainable creative careers: when artists thrive, society benefits.


Let’s work together


      Grant writing      

Ask me me to draft or edit funding applications. To date, I’ve secured more than $400,000 for individual artists and brokered $3 million investment deals. I’d love your project to be next.

          Producing          

Ask me to draft, benchmark or review contracts, budgets & tour plans for theatre, comedy, musicals, and projects in between.  As a qualified (non-practising) lawyer, I specialise in bringing projects into line with the Live Performance Award 2020 & Performers’ Collective Agreement 2024-26.


  Governance & HR


Ask me to draft, edit or review policies and processes that balance all the hoops and ribbons: WH&S, robust governance, NFP risk management, industry-benchmarks and strategy rooted in the realities of today. I’ve sat on and advised arts boards from grassroots collectives to social enterprises and major charities.

Sector development

Our industry thrives on collaboration – let’s push each other to keep doing better by audiences, workers and artists. I’ve presented on panels about creative workforce development and LGBTQIA+ leadership, hosted storytelling nights, delivered project management workshops, and mentored emerging producers. Ask me to write, speak, emcee or mentor.
                                      

   Drop me a line      


I offer free 20 minute virtual consultations to anyone seeking a sounding board.

You’re not alone. My phone buzzes regularly with questions like:
  • how do I pitch and sell a show? 
  • is my budget realistic? what is it missing?
  • what do people actually mean by “industry best practice”?
  • how do arts boards work (and why are they always in the news)?!
  • my contracts are patched together from templates... is that a problem?
  • is starting a company a good idea? how do I protect myself?
  • how do royalties, intellectual property and commissions work?
Together, we’ll take a breath and step back. Set clear priorities. Break down the next steps. And see what I can take off your plate.

Artwork by Elizabeth Cox @lizzymcox.

A BIT ABOUT ME


I have produced ambitious projects on both commercial (In The Heights, Sydney Opera House) and independent (Snakeface, Belvoir 25A) budgets, served on arts boards (The Suburban Review, Stage A Change) and worked across commercial law (Bird & Bird, Banki Haddock Fiora) and federal government (Attorney-General’s Department, ACCC).


My qualifications

  • Master of Arts & Cultural Management, Paramount Scholarship, University of Melbourne (ongoing)
  • Graduate Diploma of Legal Practice, Admitted to the Supreme Court of New South Wales
  • Bachelor of Laws, University of Sydney
  • Bachelor of Arts, University of Sydney


My experience


General Manager, ILBIJERRI Theatre Company
Member, Live Performance Australia Workplace Relations Committee
Senior Project Officer, Australian Competition & Consumer Commission
  • Tour Producer, In The Heights (Sydney Opera House, Comedy Theatre, HOTA Home of the Arts)
General Manager & Secretary, Darlinghurst Theatre Company
Board Director, The Suburban Review
Legal Officer, Commonwealth Attorney-General’s Department
Co-Founder, Fruit Box Theare
Event Producer, Griffin Theatre Company
Interim General Manager & Secretary, Stage A Change


My writing


  • ‘Perspectives on the concept, craft and currency of community engagement’ (2024) ArtsHub
  • ‘A glorious anomaly: Would the Opera House be built today?’ (2023) ArtsHub
  • ‘AI, Invention and Authorship: Expanding Intellectual Property Rights to Non-Human Outputs’ (2021) 23(7) Intellectual Property Law Bulletin 119, LexisNexis.
  • ‘Evaluating Proposed Reforms of Ausralia’s IP System to Protect Indigenous Knowledge’ (2020) 33(2) Intellectual Property Law Bulletin 25, LexisNexis.


What I’m reading
to expand the way we talk about “arts management”

My questions for arts organisations
back to basics
  1. How do your processes reflect the realities of our sector?
  2. How do your policies care for artists and arts workers?
  3. How are you balancing risk management with artistic integrity and sector development?
  4. What does “resilience” (financial, psychological, creative) mean to your team? What does it look like in practice?
  5. How are your bringing audiences and stakeholders on your organisational journey?

    Artwork by Elizabeth Cox @lizzymcox.