Support the work
Imagination
is going blind.
You can help.
The drawing is still in the pupil. It has not gone yet.
Every production GMF mounts exists because someone decided it mattered enough to fund. That decision is yours.
GMF produces work that the major producing houses have not yet found — or chosen to take the risk on. Your support funds that risk. It funds the production of theatre that belongs on the world’s stages and will be there.
What going first has already made
This is not a proposal. It is a record.
None of it came through the structures that usually decide what reaches a stage. Each began with somebody deciding to go first.
Since 2024: a year-long Jane Austen celebration across New York and England. A recurring London cabaret that funded art by making art. Plays, concerts, courses and screenings on both sides of the Atlantic.
Chawton House. The New York Society Library. King Manor Museum. The Reading Room at Bryant Park. Chesapeake Shakespeare Company. Riverside Studios.
Nineteen records, in full
An eye that has stopped seeing, and an eye that has started crying. Both are the same campaign.
What your support funds
I
Risk
Work the major producing houses have not yet found — or have chosen not to take the risk on. Someone has to commit before there is evidence. That commitment is the expensive part.
II
Infrastructure
Rehearsal rooms, contracts, casting, design and technical realisation at the scale the writing was built for. The difference between a reading and a production is almost entirely this.
III
Reach
Venues, touring and transfer — the distance a work can travel without being thinned on the way. Most work that dies does not die badly reviewed; it dies unable to move.
Why monthly
A season is a year of work, not a night of it.
A play is commissioned in one quarter, developed in the next, cast in the third, staged in the fourth. The Foundation has to know in the first that the fourth is paid for. That is the whole difficulty of producing.
A single gift funds a moment. A monthly gift funds the decision to begin.
It also backs work the Foundation has not found yet. That is the earliest anyone can be.
Twenty dollars a month is two hundred and forty dollars a year. The difference is that it can be counted on before it arrives.
Ways to giveAll amounts in USD
USD 100 is the exact cost of a Fragments of Brilliance application. It is the one cost an artist has to meet before the Foundation will read them. A gift at that level covers one submission in full.
Everything else is pooled. No single gift carries one production from beginning to end — producing does not work that way, and the Foundation would rather say so.
Each monthUSD 30
Arrange this giftCard payment is not switched on yet, so nothing can be charged on this page. This opens an email to friends@globalmosaicfoundation.org carrying the amount you chose, and the Foundation completes it with you directly.
Foundation Patron
$1,000 or more
A standing relationship across a season, not a single production. At this level the conversation is with the Artistic Director & Chief Executive himself. The Foundation is small enough that the person asking for the gift is the person deciding what gets made with it.
What that buys is not a seat at the opening. It is the conversation before there is anything to open.
friends@globalmosaicfoundation.orgTrusts, foundations and companies
Institutional giving, sponsorship and multi-year commitments are handled directly rather than through this page.
partnerships@globalmosaicfoundation.orgIf you cannot give
Put the work in front of someone who can — a trust, a company, a person who has been looking for exactly this and has not found it. In this field an introduction is often worth more than a cheque.
friends@globalmosaicfoundation.org
It funds the production of theatre that belongs on the world’s stages — and will be there.