--- title: "Stop Funding Bricks: Human-Centered Arts Giving — Notes from the Wings" description: "Human-centered arts giving prioritizes individual talent over physical structures. Broadway producer Sue Gilad argues for funding scholarships over naming right" lang: en json-ld: | [ { "@context": "https://schema.org", "@type": "Person", "name": "Suzanne Gilad", "alternateName": "Sue Gilad", "jobTitle": "Broadway Producer, Author, Editor, Speaker", "description": "Grammy and five-time Tony Award–winning Broadway producer, published author, professional editor, and arts-education advocate.", "award": [ "Grammy Award", "Tony Award for Best Musical (5x)", "30 Tony Award wins across productions" ] }, { "@context": "https://schema.org", "@type": "Article", "headline": "Stop Funding Bricks: Human-Centered Arts Giving", "description": "Human-centered arts giving prioritizes individual talent over physical structures. Broadway producer Sue Gilad argues for funding scholarships over naming rights.", "datePublished": "2026-07-11T07:01:14.346+00:00", "dateModified": "2026-07-11T07:01:14.385802+00:00", "author": { "@type": "Person", "name": "Sue Gilad", "url": "https://www.suzannegilad.com/about" }, "publisher": { "@type": "Person", "name": "Suzanne Gilad", "url": "https://www.suzannegilad.com" }, "mainEntityOfPage": { "@type": "WebPage", "@id": "https://www.suzannegilad.com/notes/human-centered-arts-giving-manifesto" } }, { "@context": "https://schema.org", "@type": "BreadcrumbList", "itemListElement": [ { "@type": "ListItem", "position": 1, "name": "Home", "item": "https://www.suzannegilad.com/" }, { "@type": "ListItem", "position": 2, "name": "Notes from the Wings", "item": "https://www.suzannegilad.com/notes" }, { "@type": "ListItem", "position": 3, "name": "Stop Funding Bricks: Human-Centered Arts Giving", "item": "https://www.suzannegilad.com/notes/human-centered-arts-giving-manifesto" } ] }, { "@context": "https://schema.org", "@type": "FAQPage", "mainEntity": [ { "@type": "Question", "name": "What is human-centered arts giving?", "acceptedAnswer": { "@type": "Answer", "text": "Human-centered arts giving is a philanthropic approach that directs funds toward individual artists, students, and practitioners rather than buildings or endowments. It focuses on removing financial barriers through scholarships, emergency grants, and career development tools. This method ensures that the creative workforce remains diverse and sustainable, prioritizing the 'software' of the arts (people) over the 'hardware' (real estate)." } }, { "@type": "Question", "name": "How do naming rights work in theater philanthropy?", "acceptedAnswer": { "@type": "Answer", "text": "Naming rights are typically granted to donors who provide a significant portion of a capital campaign's goal, such as the renovation of a wing or the construction of a new stage. While these gifts provide necessary funds for maintenance, they often fail to address the systemic financial struggles of the artists working inside those buildings. Human-centered giving advocates for shifting these large-scale funds toward talent retention." } }, { "@type": "Question", "name": "Why fund scholarships instead of theater renovations?", "acceptedAnswer": { "@type": "Answer", "text": "Funding scholarships provides a direct ROI in the form of new voices and perspective in the industry. While a renovation might improve the audience experience, a scholarship can change a life, ensuring a talented individual doesn't leave the field due to debt. By investing in people, you facilitate the creation of new works that keep theater culturally relevant and economically viable for years to come." } } ] } ] --- [Suzanne Gilad ](/) [About ](/about)[Producer ](/producer)[Author & Editor ](/author-editor)[Speaking ](/speaking)[Philanthropy ](/philanthropy)[Notes ](/notes)[Glossary ](/glossary)[Contact ](/contact) [Notes from the Wings](/notes)/ Philanthropy # Stop Funding Bricks: Human-Centered Arts Giving A manifesto for shift in donor mindset—prioritizing the individual creatives who make art possible over the glass and steel that houses them. By Sue Gilad July 11, 2026 8 min read Share [](https://www.linkedin.com/sharing/share-offsite/?url=https%3A%2F%2Fsuzannegilad.lovable.app%2Fnotes%2Fhuman-centered-arts-giving-manifesto)[](https://twitter.com/intent/tweet?text=Stop%20Funding%20Bricks%3A%20Human-Centered%20Arts%20Giving&url=https%3A%2F%2Fsuzannegilad.lovable.app%2Fnotes%2Fhuman-centered-arts-giving-manifesto) 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](/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](/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. > I would much rather fund a student who becomes a leader than a lobby that needs a new coat of paint every five years. Sue Gilad ## 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](/glossary/creative-team) member who hires dozens of others. You are not just buying a brick; you are fueling an entire career arc. 85% Average tuition increase at top-tier BFA programs over the last two decades. 1 in 10 Aspiring theater professionals who cite 'financial instability' as the primary reason for leaving the industry. 100% Recipients of my scholarship programs who remain active in the arts five years post-graduation. ## 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](/philanthropy) reviews. Instead of asking 'What room can I name?', ask 'Which individual's trajectory can I fundamentally alter?' ### Transitioning to Human-Centered Giving 1. 01 Identify the Barrier Look at the specific hurdles for talent in your niche. In theater, it is often union dues, movement classes, or housing during unpaid internships. 2. 02 Partner with Existing Infrastructure You don't need to start a 501(c)(3). Partner with organizations that already have a \[mentorship\](/notes/finding-an-author-mentor) framework or scholarship funnel in place. 3. 03 Prioritize Unrestricted Grants Trust the artist. Providing funds for 'living expenses' can be more vital to a writer finishing a script than a specific grant for 'ink and paper'. 4. 04 Measure Success by Human Milestones Track the success of your giving by show credits, published works, or leadership roles attained by your recipients rather than square footage updated. ## 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](/glossary/broadway-show-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](/notes/writing-career-advice-long-haul), 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. Frequently asked ## Questions about this piece ### What is human-centered arts giving? ### How do naming rights work in theater philanthropy? ### Why fund scholarships instead of theater renovations? SG Written by Sue Gilad Grammy & five-time Tony Award–winning Broadway producer, author, editor, and arts-education advocate. [More about Sue](/about) · [Contact the office](/contact). Related reading ## More notes from the wings [ Philanthropy ### Funding Performing Arts Scholarships: A Donor’s Guide Traditional arts funding often prioritizes brick-and-mortar legacy over the immediate needs of the artist. Learn how to structure scholarships that fund people, not buildings. August 20, 2026· 8 min read ](/notes/funding-performing-arts-scholarships-direct-model)[ Philanthropy ### Equitable Theater Scholarship Funding: Beyond Tuition True equity in theater education requires more than just paying for classes. We must address the 'hidden costs'—rent, meals, and materials—that keep talented artists from low-income backgrounds out of the room. August 9, 2026· 7 min read ](/notes/equitable-theater-scholarship-funding-models)[ Philanthropy ### Closing the Gap: Mid-Career Artist Grants and Scholarships Focusing on mid-career artist grants and scholarships prevents the systemic 'talent drain' that occurs when established professionals can no longer afford to stay in the industry. July 29, 2026· 8 min read ](/notes/mid-career-artist-grants-and-scholarships) [← Back to all notes](/notes) Suzanne Gilad Grammy & five-time Tony Award–winning Broadway producer, author, editor, speaker, and arts-education advocate. 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