Curtains Fall at the Kennedy Center: What Is Trump Doing and Why?

The recent upheaval at The John F. Kennedy Center for the Performing Arts, following President Donald Trump's self-appointment as chairman, has sent shockwaves through the arts community. This unprecedented move has led to significant administrative changes, program cancellations, and a broader debate about the intersection of politics and cultural institutions.

On February 12, 2025, President Trump stunned patrons of the arts worldwide by dismissing the existing board of trustees and installing himself as chairman of the Kennedy Center. Trump justified this bold and unexpected maneuver by expressing a desire to steer the center away from what he described as "woke" programming, aiming instead to promote a vision of American culture aligned with his political ideology.

"I'm really, really, really sad about what happens to our artists, what happens on our stages and our staff who support them” said Deborah Rutter, the Kennedy Center’s former president. Rutter was dismissed shortly after Trump’s self-installation.

“The Kennedy Center is meant to be a beacon for the arts in all of America across the country. And we have worked so hard and accomplished so much over this last decade to really broaden the programming, to invite all manner of arts and artists to our stages. And we've expanded our audience as a result,” Rutter said in a recent interview with NPR. “I pray that that can be sustained. But that's my biggest concern.”

Rutter has been replaced by Richard Grenell, a known Trump loyalist, as the Kennedy Center’s interim acting president.

What is the Kennedy Center?

Before we break this down, here's what you need to know about the historical significance of The Kennedy Center. In 1958, President Dwight D. Eisenhower signed bipartisan (that’s right, bipartisan) legislation establishing a National Cultural Center in Washington, D.C. In 1962, President John F. Kennedy and First Lady Jacqueline Kennedy led a major fundraising campaign for its construction, with support from the former president. Following Kennedy’s assassination in 1963, Congress officially renamed the center after him, honoring his dedication to the performing arts. Since then, the Kennedy Center has served as a beacon for the arts in America.

Why the Kennedy Center?

You may be wondering, why the Kennedy Center? Why is Donald Trump so obsessed with taking it over, and what significance does it hold? After all, he was the first, and only, sitting president to not only skip each of the center’s annual Honors Galas - a celebration of individuals who have made significant contributions to American culture through the performing arts - held throughout his first term, but also refrain from hosting the White House reception that precedes it, a tradition that’s been upheld by every other modern president.

Beyond the fact that this cultural institution sits in his Washington, D.C. backyard, his vague declarations about bringing the U.S. back to a so-called "golden age" of arts and culture (whatever that may mean), or his obsession with undoing past presidents’ legacies, one could argue that Trump’s actions are largely symbolic. As we've previously seen, he often issues directives without clear logic.

Many see Trump’s actions as yet another irrational ploy to disrupt a respected institution for a power trip. But this is different - this is an attempt to silence voices he doesn’t want to hear. Undermining cultural institutions is an attack on free expression, as the arts serve as a vital platform for communication, education, and social commentary. By restricting access to diverse artistic perspectives, Trump appears intent on curating an American culture that aligns only with his own values. 

The current situation at the Kennedy Center raises critical questions about the role of political influence in cultural institutions. As the center grapples with its identity and mission under new leadership, the broader arts community watches closely, concerned about the implications for artistic freedom and the preservation of diverse cultural expressions. In these challenging times, the resilience and adaptability of the arts sector will be tested. The Kennedy Center’s trajectory may well serve as a bellwether for the future relationship between politics and the arts in America.

In an exclusive interview with BroadwayWorld contributor Rachel Schmaier, the creative team of  FINN, Chris Nee and Christopher Dimond, explain how devastating it is to see what has become of the Kennedy Center. “We feel for the people that work in the Kennedy Center…they are people who have dedicated their lives to the arts and to a version of the arts that is not about politicizing them. A strong and healthy arts sector is an important part of democracy; it’s part of how we learn to understand ourselves as a community, how we learn to have empathy for other people. For many years the Kennedy Center was a place that could incubate great work - especially for theatre for young audiences which is often overlooked” explained Nee. 

Nee emphasizes how critical it is to note that Trump did this in the first 2 weeks of his administration; “this is not about policies he ran on. It is about taking control of the cultural conversation in a way that is very chilling.”

Artistic Exodus, Program Cancellations & Institutional Fallout

The leadership overhaul has prompted a swift and vocal response from the arts community. In particular, numerous artists and organizations have withdrawn from scheduled performances in protest against the new administration's direction.

Just a few weeks ago, singer-songwriter Rhiannon Giddens canceled her show at the Kennedy Center, citing concerns over the center’s recent leadership changes in a social media post. Giddens even went so far as to describe her new venue, The Anthem, as she “cannot in good conscience play at The Kennedy with the recent programming changes forced on the institution by this new board." Additionally, while the Kennedy Center claimed financial reasons for cancelling their planned tour of the children's musical FINN, creators Chris Nee, Michael Kooman, and Christopher Dimond indicate otherwise, suggesting that the musical (which uses metaphor to explore the LGBTQ+ experience) may have been targeted under the center’s new leadership. 

Nee and Dimond recall the chilling day they learned FINN had been canceled—an announcement that directly contradicted the enthusiasm the Kennedy Center had previously shown for the production.

"The initial run at the Kennedy Center went incredibly well—so much so that they scheduled the show for a two-year tour. Typically, the Kennedy Center only commits to one-year tours, but they believed so strongly in FINN that they planned to tour it in 2026 and 2027. Up until the end of January, everything was moving forward as planned," they explained. That changed abruptly on February 7, when Trump took to social media to announce his takeover of the Kennedy Center, explicitly citing a crackdown on “drag shows targeting youth.” Though FINN has no connection to drag, it is a production for young audiences, making the announcement all the more alarming for its creators. "The following Wednesday, February 12, we got a text from our partners at the Kennedy Center asking us to hop on a call immediately. They told us the tour was being canceled for ‘financial reasons,’ and just hours later, the new chairman of the board was elected."

Along with program cancellations, the center’s internal restructuring has also led to high-profile resignations from key artistic advisors. Renowned figures such as soprano Renée Fleming, musician Ben Folds, and producer Shonda Rhimes have stepped down from their Kennedy Center advisory roles, expressing dismay over the center's leadership shift. Their departures underscore a deepening rift between the institution’s leadership and the broader arts community.

The controversy has also had immediate repercussions on the center's financial health. Reports indicate a staggering 50% decline in ticket sales since the leadership change, signaling public disapproval and a potential crisis in audience engagement. A Kennedy Center staff member, who spoke anonymously to the Washington Post, warned that this downturn threatens the center's ability to sustain its operations and fulfill its mission as a premier cultural institution.

HAMILTON is the latest production to sever ties with the new Kennedy Center leadership. Executive Producer Jeffrey Seller released a statement on March 5, condemning the recent changes:

"The recent purge by the Trump Administration of both professional staff and performing arts events at or originally produced by the Kennedy Center flies in the face of everything this national cultural center represents. This spirit of nonpartisanship ended on February 7, 2025, with the firing of Kennedy Center President Deborah Rutter, Chairman of the Board David Rubenstein, numerous other board members, and the cancellation of important programming. These actions bring a new spirit of partisanship to the national treasure that is the Kennedy Center.”

Seller went on to explain that HAMILTON’s cancellation was also “a business decision.” That phrase carries a sharp double meaning. On one hand, it’s a practical choice—if the new Kennedy Center board were to act rashly and cancel HAMILTON’s engagement, it would create financial consequences for both the show and its company members. But more significantly, Seller’s phrasing throws Trump’s own rhetoric back at him. Trump has attempted to justify his takeover as “a business decision,” claiming it will restore America’s “golden age of the arts.” But two can play at that game—the very artists he seeks to silence are now making their own business decisions, ones that could come at a steep cost to his administration’s agenda.

Broadway Fights Back

But it doesn’t end here—Broadway is stepping up. In response to the Kennedy Center cancellations, Broadway stars and producers have organized a benefit performance featuring the very shows that were removed from the Kennedy Center’s lineup.

The one-night-only event will feature performances from FINN, the Gay Men’s Chorus of Washington, D.C. (whose show was also canceled), and musical numbers performed by Broadway stars such as Kelli O’Hara, Bonnie Milligan, Jessie Mueller, and more. The benefit will be live-streamed from New York’s Town Hall next month.

“Supporting the arts, free speech and  free expression in any form is critical right now. Raise your voice and let it be known that we won’t stand for censorship in any form. This is how democracy works. It is bravery to tell the stories you know are going to ruffle feathers…we must keep doing this. You are talking to communities that know they are being left behind” says Christopher Dimond. 

Now more than ever, it is time to support the arts and artists, and you can start here. Tickets for the in-person performance on March 17 at 8 p.m. are available at StarsintheHouse.com. A portion of proceeds from ticket sales and live-stream donations will go to The Trevor Project, a nonprofit organization dedicated to suicide prevention and crisis intervention for LGBTQ+ youth.