Until recently, the Kennedy Center in Washington, D.C., was notable primarily for its annual recognition of distinguished American artists. However, recent events have shifted the focus dramatically since the return of Donald Trump to the presidency.
In the initial month of his second term, Trump replaced the leadership of the arts institution, appointed a board of trustees predominantly filled with his supporters, and announced that he had unanimously been made the board’s chair. This led to the cancellation of performances, including the touring musical “Finn” and a planned concert by the Gay Men’s Chorus of Washington, D.C. While Trump has characterized these changes as part of a broader campaign against “woke” culture, officials at the center have stated that the cancellations stemmed from financial and scheduling issues.
This week, White House press secretary Karoline Leavitt remarked in a statement, “The Kennedy Center learned the hard way that if you go woke, you will go broke. President Trump and the members of his newly-appointed board are dedicated to transforming the Kennedy Center into a flourishing and highly esteemed institution where all Americans, along with visitors from around the globe, can appreciate the arts while honoring America’s rich history and traditions.”
The Kennedy Center is a major arts venue funded by both government support and private contributions, attracting millions of visitors annually. The complex stands 100 feet tall and houses a concert hall, an opera house, a theater, a lecture hall, meeting rooms, and the “Millennium Stage,” which features free performances.
Its establishment is rooted in bipartisan support. The idea first emerged in the late 1950s during the presidency of Republican Dwight Eisenhower, who endorsed a proposal from a Democratic Congress for a “National Culture Center.” In the early 1960s, President John F. Kennedy initiated fundraising efforts, and President Lyndon B. Johnson later approved a bill in 1964 to officially name the project the John F. Kennedy Memorial Center for the Performing Arts, following Kennedy’s assassination the previous year. Construction commenced in 1965, with the center officially opening in 1971, showcasing Leonard Bernstein’s “Mass.”
The Kennedy Center has a long legacy as a venue for theatrical and musical performances, hosting an array of artists from the Paul Taylor Dance Company to a collaborative concert featuring Tony Bennett and Lady Gaga. Noteworthy moments have included the annual Mark Twain Prize for American Humor, which has recognized talents such as Lorne Michaels, Tina Fey, and Bob Newhart, along with the Kennedy Center Honors, recently acknowledging notable artists like Francis Ford Coppola and Bonnie Raitt.
Typically, U.S. presidents have attended the honors ceremony alongside artists even when political disagreements existed. A memorable moment occurred in 2002 during President George W. Bush’s term when Steve Martin humorously addressed honoree Paul Simon, jesting about being approached by Bush regarding obtaining bootleg recordings of Barbra Streisand, a noted Democrat.
Trump has largely overlooked the Kennedy Center during his first term, even skipping the honors ceremony. This time, however, he has adopted a more assertive and direct approach, citing performances he identifies under the drag show umbrella as catalysts for a complete transformation of the center.
In a recent statement on his social media platform, he declared, “At my direction, we will make the Kennedy Center in Washington D.C., GREAT AGAIN. I have decided to terminate multiple individuals from the Board of Trustees, including the Chairman, who do not align with our Vision for a Golden Age in Arts and Culture.”
Despite the shake-up, the Kennedy Center website still promotes its mission, emphasizing the importance of quality in educational and outreach efforts that reflect the cultural diversity of the United States. It also features a project titled “Promise of US,” inviting the public to submit artistic self-portraits that symbolize the diversity and potential of America, which will be displayed virtually on the center’s website and social media channels.
The current leadership has shifted dramatically; Trump replaced board chair David M. Rubenstein, a Baltimore Orioles owner and philanthropist. The newly formulated board, which traditionally sought a balance between Democratic and Republican members, now leans heavily Republican. Newly appointed members include Attorney General Pamela Bondi, country musician Lee Greenwood, and Susie Wiles, the White House chief of staff. Following this tumultuous period, Kennedy Center President Deborah F. Rutter, who had been appointed by Rubenstein in 2014, quickly resigned and was temporarily succeeded by diplomat Richard Grenell, who was previously the U.S. ambassador to Germany.
Rutter expressed sorrow over the developments, emphasizing concerns for artists, stage productions, and the supportive staff, stating, “The Kennedy Center is meant to be a beacon for the arts in all of America across the country.”
The repercussions of these changes have been substantial and unprecedented. Various Kennedy Center consultants, including musician Ben Folds and soprano Renée Fleming, have resigned, while actor Issa Rae called off her scheduled performance. At a recent concert that took place, artist Victoria Clark was seen donning a T-shirt that declared “ANTI TRUMP AF.” Further controversies loom as next month features the comedy event “RIOT! Funny Women Stand Up,” celebrating Women’s History Month, and Conan O’Brien is slated to receive the Twain Award, leading to potential jabs at the president during an all-star affair. Additionally, the center plans to host “Eureka Day,” a play focused on a mumps outbreak—an especially sensitive subject with the recent appointment of vaccine critic Robert F. Kennedy Jr. to the Department of Health and Human Services.
