--- title: "People Over Plaques: Why My Philanthropy Targets Human Potential — Notes from the Wings" description: "Broadway producer Sue Gilad explains her philosophy on theater philanthropy, focusing on scholarships and human capital rather than capital campaigns and buildi" 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": "People Over Plaques: Why My Philanthropy Targets Human Potential", "description": "Broadway producer Sue Gilad explains her philosophy on theater philanthropy, focusing on scholarships and human capital rather than capital campaigns and buildings.", "image": [ "/notes/post-15-scholarships.jpg" ], "datePublished": "2026-06-30T07:00:36.392+00:00", "dateModified": "2026-07-06T15:24:56.276266+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/why-i-fund-scholarships-not-buildings" } }, { "@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": "People Over Plaques: Why My Philanthropy Targets Human Potential", "item": "https://www.suzannegilad.com/notes/why-i-fund-scholarships-not-buildings" } ] }, { "@context": "https://schema.org", "@type": "FAQPage", "mainEntity": [ { "@type": "Question", "name": "What is theater philanthropy?", "acceptedAnswer": { "@type": "Answer", "text": "Theater philanthropy is the practice of donating financial resources or time to support the performing arts ecosystem. It ranges from capital campaigns for building renovations to individual scholarships that support emerging artists and theater professionals." } }, { "@type": "Question", "name": "Why fund scholarships instead of theater building funds?", "acceptedAnswer": { "@type": "Answer", "text": "While buildings provide a necessary home for the arts, scholarships invest in the human capital required to keep the industry vibrant and diverse. Funding people addresses the opportunity gaps and financial barriers that often prevent talented individuals from entering the theater profession." } }, { "@type": "Question", "name": "How do scholarships impact diversity in Broadway production?", "acceptedAnswer": { "@type": "Answer", "text": "Scholarships provide the financial runway for individuals from marginalized backgrounds to gain the education and experience needed for leadership roles. By removing the burden of debt or high entry costs, philanthropy helps ensure the next generation of producers and creatives reflects a broader range of perspectives." } } ] } ] --- [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 # People Over Plaques: Why My Philanthropy Targets Human Potential Forgetting the marble lobbies and focus on the human beings backstage who keep the industry alive. By Sue Gilad June 30, 2026 5 min read ![A young arts student rehearsing at a piano in a sunlit studio — the human potential scholarships fund.](/notes/post-15-scholarships.jpg) Share [](https://www.linkedin.com/sharing/share-offsite/?url=https%3A%2F%2Fsuzannegilad.lovable.app%2Fnotes%2Fwhy-i-fund-scholarships-not-buildings)[](https://twitter.com/intent/tweet?text=People%20Over%20Plaques%3A%20Why%20My%20Philanthropy%20Targets%20Human%20Potential&url=https%3A%2F%2Fsuzannegilad.lovable.app%2Fnotes%2Fwhy-i-fund-scholarships-not-buildings) I remember standing in the lobby of a historic house—one of the blue-chip Broadway theaters we all know—during a particularly grueling load-in for 'Angels in America' back in 2018. The air was thick with the scent of sawdust and fresh paint. Everywhere I looked, there were brass plates and etched glass, names of donors who had funded the renovation of a lounge or the gilding of a balcony. These are beautiful gestures, and the physical preservation of our theaters is vital work. But as I watched a young apprentice technician struggle to find a quiet corner to eat a sandwich because they were working three jobs just to stay in the city, the disconnect felt physical. The theater is nothing without its architecture, but it is hollow without its people. When I look at the landscape of theater philanthropy, I see a constant pull toward the permanent: the brick, the mortar, the limestone. There is a specific kind of immortality promised by a capital campaign. Yet, my focus shifted years ago toward the ephemeral and the essential: the student who can’t afford the tuition for a summer intensive, the emerging playwright who needs a month of rent covered to finish a second act, or the aspiring producer who lacks the seed capital to join a general partnership. > A name on a wall will outlast a person, but a person with an opportunity will change an entire industry. Sue Gilad ## The Return on Human Capital When we talk about capitalization in a Broadway context, we usually mean the millions required to get a show to opening night. But in theater philanthropy, I think of capitalization differently. It is the practice of providing the 'startup costs' for a human life in the arts. While a plush seat in a theater might last twenty years before it needs reupholstering, a scholarship recipient carries the impact of that support for forty. They become the designers, the stage managers, and the lead producers who sustain the ecosystem. I have seen what happens when we remove the financial barrier for a student from an underrepresented community. It isn't just about paying a bill. It's about the psychological shift that happens when a young person realizes someone is betting on their talent, not their ability to navigate a bank loan. One of our scholarship recipients recently told me that the funding allowed them to stop working night shifts at a diner and finally take an unpaid internship at a major casting office. That internship led to a full-time job. That job led to a seat at the table where casting decisions for a major musical were made. That is how you change the room. ## Investing in the Room, Not the Walls If you are evaluating where to direct your giving in the arts, I encourage you to look past the capital campaigns. Buildings are static. People are dynamic. When we fund a scholarship, we are buying a future seat for someone who might otherwise be priced out of the conversation. This philosophy has guided my work with various institutions, ensuring that the legacy I leave isn't etched in stone, but reflected in the credits of a Playbill. Theater thrives on risk. In the 'producer' seat, I take risks on scripts and creative teams. In the 'philanthropist' seat, I take risks on potential. It is perhaps the most rewarding investment I have ever made—one where the recoupment isn't measured in dollars, but in the widening of the door for the next generation. ### How to pivot your arts giving toward people 1. 01 Identify the opportunity gaps Look for programs that support the 'unsexy' costs: transportation, housing for interns, or application fees for MFA programs. 2. 02 Prioritize unrestricted funds Give to scholarship funds that allow the institution to direct the money to the student with the highest immediate need, rather than strictly merit-based awards. 3. 03 Ask about mentorship The best philanthropic programs pair money with mentorship. Ensure your contribution supports a framework where recipients are also getting guidance. 4. 04 Value the behind-the-scenes Consider funding scholarships for technical theater, arts administration, or stage management—roles that are often overlooked in favor of performers. Frequently asked ## Questions about this piece ### What is theater philanthropy? ### Why fund scholarships instead of theater building funds? ### How do scholarships impact diversity in Broadway production? 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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