Stop Funding Bricks: Human-Centered Arts Giving

Human-centered arts giving is a philanthropic philosophy that prioritizes investing in individual artists, education, and career development over physical infrastructure or capital campaigns. By focusing on people-first grants and scholarships rather than naming rights for buildings, donors ensure that the barriers to entry in creative industries like Broadway are lowered for the next generation of storytellers.

Years ago, I stood in a chilly rehearsal hall on 42nd Street watching an ensemble of dancers work through a sequence for what would become one of my first major productions. The ceiling was leaking into a plastic bucket, the floor was sprung but worn, and the air conditioning was a distant dream. Yet, the energy in that room was more valuable than any guilded lobby at the Majestic or the Broadway Theatre. It hit me then: the art isn't the building. The art is the person who can barely afford the subway fare to get to the audition, but who brings a lifetime of experience to center stage. If we don’t fund that person, the most beautiful theater in the world remains a hollow shell.

The Allure of the Plaque vs. the Impact of the Person

There is a deep-seated tradition in theatrical philanthropy that leans toward the visible. We see it in the marble walls of Lincoln Center or the brass plaques on the back of velvet seats. Donors often want to see their names etched in stone because it offers a sense of permanence. However, stone doesn't innovate. Stone doesn't write the next groundbreaking libretto or choreograph a Tony-winning sequence for a show like *The Outsiders*.

When we transition to human-centered arts giving, we trade that ego-driven permanence for a dynamic legacy. I have built my philanthropic efforts around scholarships, specifically targeting those who are historically excluded from the room. My experience as a producer has taught me that the biggest risk to our industry isn't a lack of real estate; it is the talent drain caused by the high cost of living and the even higher cost of arts education. According to data from the Broadway League, the economic impact of Broadway is immense, yet the entry-level wages for many creative professionals remain a significant barrier.

Why People-First Philanthropy Wins

Buildings are liabilities that require constant maintenance, insurance, and heating. People are assets that grow in value, mentorship, and creative output. When you fund a human being, you are funding a ripple effect. That student who receives a scholarship today becomes the Associate Director tomorrow, eventually becoming the creative team member who hires dozens of others. You are not just buying a brick; you are fueling an entire career arc.

Steps Toward a Human-Centered Giving Strategy

If you are an individual donor or a foundation looking to make a more meaningful impact, the shift doesn't have to happen overnight. It starts with asking different questions during your annual giving reviews. Instead of asking 'What room can I name?', ask 'Which individual's trajectory can I fundamentally alter?'

The Producer Mindset Applied to Philanthropy

In my book *The 1,200 Books I Read*, I touch on the idea that every story needs a champion before it needs a stage. The same is true for the people who tell those stories. Just as capitalization is necessary to get a show off the ground, 'human capitalization' is necessary to keep our industry diverse and vibrant. We need to stop thinking about theater as a collection of historic buildings and start seeing it as a community of precarious, brilliant people. If I can help one person navigate the complexities of a writing career, that is a far better use of my resources than having my name on a bathroom stall in a Midtown venue.

Next time you receive a solicitation for a capital campaign, I encourage you to look at the 'Individual Artist' line item. If it isn't there, suggest it. Broadway is built on the sweat and dreams of individuals who often have no safety net. Let's be that net. Let’s focus on the heart of the theater—the people—and let the bricks take care of themselves.