A highly anticipated theatrical evening at one of America’s most prestigious cultural institutions became a microcosm of the nation’s political divisions, as President Donald Trump made his first appearance at a Kennedy Center performance since his controversial takeover of the venue earlier this year.
The atmosphere inside the Opera House was electric with tension as the First Couple arrived for what was billed as both a cultural celebration and a major fundraising event for the financially struggling arts center. What unfolded over the course of the evening would become a defining moment in Trump’s broader effort to reshape America’s cultural landscape.
The Takeover That Transformed Washington’s Cultural Crown Jewel
The controversy began in February when President Trump announced his plans to fire multiple board members appointed by former President Joe Biden, including longtime chairman David Rubenstein, and install himself as the new chairman of the Kennedy Center. The termination notifications were sent to board members, whose names were subsequently removed from the center’s website.
Trump appointed Richard Grenell, his former acting director of national intelligence and ambassador to Germany, as interim executive director of the Kennedy Center. The board also terminated Kennedy Center President Deborah F. Rutter’s contract, despite her having announced plans to step down at the end of the year.
The president’s sweeping changes were accompanied by bold declarations about the future direction of the institution. “NO MORE DRAG SHOWS, OR OTHER ANTI-AMERICAN PROPAGANDA,” Trump proclaimed on Truth Social, adding “ONLY THE BEST”. He specifically criticized the center for featuring “drag shows specifically targeting our youth” and promised this would stop.
The transformation wasn’t merely cosmetic. Richard Grenell claimed that the center’s new CFO discovered “$26 million in phantom revenue, fake revenue” in the 2024 and 2025 budgets, allegations he characterized as “criminal” and worthy of referral to the U.S. attorney’s office. Former Kennedy Center president Deborah Rutter denied these allegations, stating she was “deeply troubled by the false allegations regarding the management of the Kennedy Center being made by people without the context or expertise to understand the complexities involved in nonprofit and arts management”.
The financial picture painted by the new leadership was dire. Grenell reported on social media that he had been briefed by the CFO and learned there was “ZERO cash on hand” and “ZERO in reserves,” with deferred maintenance representing a crisis.
The Stakes: A $10 Million Fundraising Gamble
Trump’s attendance at the opening night of “Les Misérables” was organized as a major fundraising event, with guests paying between $100,000 and $2 million for various levels of access. Gold sponsors were asked to contribute $2 million for 10 premier seats, a photo opportunity with Trump, and 10 tickets to a VIP reception, while silver sponsors paid $100,000 for similar but scaled-down benefits.
At the red carpet before the performance, Trump announced that $10 million had been raised for the Kennedy Center, a significant injection of funds for an institution that receives about $45 million in federal funding annually, roughly a fifth of its $268 million operating budget.
The fundraising effort came at a critical time for the center. The Washington Post had reported a significant 36% drop in subscription ticket sales, though Kennedy Center officials disputed the accuracy of these figures, stating that their renewal campaign was just beginning.
A Tale of Two Audiences: The Night of Performance and Protest
When President Trump and First Lady Melania Trump arrived at the Kennedy Center in formal evening wear, they were met with a cacophonous mixture of cheers and boos from the audience as they took their seats in the presidential box. The divided reception was immediate and pronounced, setting the tone for an evening that would blend high culture with high drama.
The audience itself represented a fascinating cross-section of Trump’s America. Among those in attendance were Attorney General Pam Bondi in a bright red pantsuit, Health and Human Services Secretary Robert F. Kennedy Jr. with his actress wife Cheryl Hines, and far-right activist Laura Loomer. The evening drew Trump’s inner circle, including chief of staff Susie Wiles, Second Lady Usha Vance, and Commerce Secretary Howard Lutnick’s wife Allison, all of whom had been appointed to the Kennedy Center board.
But perhaps the most symbolically charged moment came from an unexpected source of resistance. Four drag queens—Maria Con Carne, Ricky Rosé, Tara Hoot, and Vagenesis—attended the performance in full drag, sitting below the presidential box as a visual protest against Trump’s ban on drag shows at the Kennedy Center. “This is a message of inclusivity. I really love musicals, I mean I’m a drag queen,” explained Tara Hoot.
When the drag performers entered and found their seats, half the theater began applauding, according to social media reports from attendees. “A lot of people have been applauding, asking for pictures,” noted Vagenesis, waving a fan with the DC flag. “Some people are throwing some glances, confused about what they see, but that’s always to be expected wherever we go”.
Intermission Drama: When Politics Took Center Stage
The most dramatic moments of the evening occurred not during the musical’s performance, but during the intermission when the theater’s political divisions erupted into open confrontation. When the lights came on after the first act and Trump and Melania stood up, many people cheered and clapped, but a woman in the orchestra section began yelling: “Felon, you’re a convicted felon”.
As the cheers died down and Trump walked out, the woman’s voice became clearer: “Convicted felon, rapist!” A security guard quickly approached and appeared to escort her out. The incident crystallized the deep divisions within the audience and the broader American public.
As the crowd waited anxiously for Trump to return, someone yelled out: “F**k Trump,” prompting both cheers and boos from different sections of the audience. When Trump reappeared, an even louder cheer erupted, with some audience members yelling “We love you” while others continued to express their displeasure.
The security presence was unprecedented for a Kennedy Center performance. Many streets were blocked off by several law enforcement agencies, including the Secret Service and U.S. Park Police. A drone hovered over the Kennedy Center throughout the show, and there was a large police presence inside the theater. All patrons and vehicles were subjected to security screens, and K-9 units were on patrol.
The Irony of “Les Misérables”: Art Meets Politics
The choice of “Les Misérables” for Trump’s Kennedy Center debut was rich with irony that wasn’t lost on observers. The musical, about citizens rising up against their government, came just days after Trump sent U.S. Marines and the National Guard to quell protests against his administration’s immigration raids in Los Angeles. The story follows a convict on parole seeking redemption and is based on a youth-led revolt against the French monarchy and related injustices in the 19th century.
Trump has long been a fan of “Les Misérables,” particularly the anthem “Do You Hear the People Sing?” which he incorporated into both his 2016 and 2024 presidential campaigns. In February, the U.S. Army Chorus performed the musical’s protest anthem at the 2025 White House Governors Ball.
Many observers found the president’s admiration for the song puzzling, given that the lyrics are sung from the point of view of French revolutionaries standing up against a powerful and corrupt ruling class, with lines like “Do you hear the people sing? / Singing the song of angry men? / It is the music of the people / Who will not be slaves again!”
The musical’s creators have previously objected to Trump’s use of their work. Producer Sir Cameron Mackintosh and the co-creators released a joint statement expressing their disapproval of unauthorized use of “Do You Hear the People Sing?” at Trump rallies, noting that “the authors of Les Misérables were not asked for permission and did not authorize or endorse usage”.
The Performer Boycott: Artists Take a Stand
The evening was notable not just for who attended, but for who refused to perform. Several lead actors from the “Les Misérables” touring production announced well in advance that they would protest Trump’s attendance by refusing to take the stage. This meant that the performance was carried out by understudies rather than the principal cast members.
Kennedy Center interim president Richard Grenell responded to the boycott with a statement: “The Kennedy Center will no longer fund intolerance. Any performer who isn’t professional enough to perform for patrons of all backgrounds, regardless of political affiliation, won’t be welcomed”.
The performer boycott was part of a broader pattern of artistic resistance to Trump’s Kennedy Center takeover. Some high-profile productions, including “Hamilton,” had been canceled in protest of the leadership changes. Television producer Shonda Rhimes and musician Ben Folds were among the celebrities who severed ties with the center following Trump’s takeover.
The Capital Pride Alliance also moved several of its Pride Month events from the Kennedy Center due to the leadership changes, reflecting the broader cultural backlash against Trump’s transformation of the institution.
Trump’s Vision: Reshaping America’s Cultural Landscape
Trump’s Kennedy Center takeover represents part of a broader effort to reshape American cultural institutions according to his vision. Under Trump and Grenell’s leadership, the Kennedy Center is embracing what they call “traditional values” and moving away from what they characterize as “divisive, politically driven content”.
The center is revamping its programming to focus more on family-friendly content, including offering more faith-based programming. One upcoming offering will be a free family screening of the Angel Studios animated film “The King of Kings,” which tells the story of Jesus’ life from the perspective of a young boy. This will be the first Jesus-centric show at the Kennedy Center since 2022.
The president has been personally involved in the transformation. At a White House dinner for the Kennedy Center board, Trump called himself both “Mr. Fix-It” and a “turnaround artist” while promising to take the center to “heights we’ve never seen before”. He complained about what he sees as the center’s problems, including stages that are too small, excessive spending by previous leadership, and “underground rooms” he dislikes.
Media Reactions and Red Carpet Moments
The red carpet portion of the evening provided Trump with an opportunity to defend his broader policies and address critics. When asked about recent controversies, Trump insisted that without his federalizing of the National Guard, “Los Angeles right now, if we didn’t do what we did, would be burning to the ground”. He characterized protesters as “radical left lunatics” who are “tough, they’re smart, they probably have paid, many of them as you know. They’re professionals”.
When asked about celebrity boycotts and criticism of his Kennedy Center attendance, Trump was characteristically dismissive. As reported in the original article, he stated: “I couldn’t care less. All I do is run the country well.” On the red carpet, Trump praised the venue and Grenell’s leadership, calling the center’s “bones” incredible and promising improvements.
The First Couple also shared personal moments with reporters. When asked about their first theater experiences, Trump said it was likely “Cats,” while Melania said hers was “Phantom of the Opera.” Melania shared that she’s a fan of “Les Misérables,” which Trump said he has seen multiple times. In a moment that would become widely circulated, when asked whether he identified more with the character of Javert (the relentless law enforcement officer) or Jean Valjean (the reformed convict seeking redemption), Trump laughed and deflected: “That’s tough. You better answer that one, honey.” Melania remained diplomatically silent.
The Broader Cultural Battle
The Kennedy Center controversy reflects a broader cultural battle playing out across American institutions. Artists have been reaching out to Grenell with concerns about the changes, but his responses have often been confrontational rather than conciliatory. In email exchanges with concerned performers, Grenell has dismissed media criticism and suggested that artists who canceled shows simply “did not want to perform for Republicans”.
Amy, a Kennedy Center patron who asked that her last name be withheld, exemplified the conflicted feelings many arts supporters have about the changes. “I feel one way about it — frustrated — but at the same time, I didn’t want to abandon this institution,” she said. “It’s really important in this country, and so I wasn’t willing to not come tonight. The only person that gets hurt is me”.
Financial Implications and Future Sustainability
The success of Trump’s fundraising effort may prove crucial to the Kennedy Center’s future. The center depends on revenue from tickets and subscriptions as well as donations to operate, and the political controversy has clearly impacted its financial position.
Despite the broader controversies, ticket sales for “Les Misérables” specifically have been robust, according to Kennedy Center officials. However, the institution faces ongoing challenges as it navigates the intersection of federal funding, private donations, and public perception.
Another potential revenue challenge involves the Kennedy Center Honors, including a licensing fee from CBS, which has broadcast the ceremony since its inception in 1978. The CBS deal expires at the end of this year, and Grenell has indicated that a new deal would be explored after this year’s ceremony.
Looking Forward: The Future of Arts and Politics
Trump’s Kennedy Center debut represents more than just a night at the theater—it’s a preview of how cultural institutions may navigate the intersection of art, politics, and public funding in the coming years. The mixed reception he received, from both supporters and critics, reflects the deep divisions within American society about the role of government in cultural affairs.
The enduring appeal of “Les Misérables” across the political spectrum over four decades suggests that great art can transcend political divisions, even as it becomes entangled in contemporary political battles. As one analysis noted, the musical “has sparked all sorts of feelings in the 130 million people who have seen it over the past 40 years,” with different audiences finding different meanings in its themes of justice, redemption, and resistance.
The evening at the Kennedy Center ultimately served as a microcosm of broader American tensions—between tradition and change, between different visions of what American culture should represent, and between the desire for unity and the reality of division. Whether Trump’s vision for the Kennedy Center will ultimately succeed, both artistically and financially, remains to be seen.
What is clear is that the intersection of politics and culture in America has never been more visible or more contentious. As the curtain fell on “Les Misérables” that June evening, the real drama—the ongoing battle for the soul of American cultural institutions—was just beginning its next act.
The success of the $10 million fundraising effort suggests that there is significant financial support for Trump’s vision, even as the artistic community remains deeply divided. The challenge for the Kennedy Center moving forward will be maintaining its status as a world-class cultural institution while navigating the political pressures that now surround it.
As Trump continues to reshape American institutions according to his vision, the Kennedy Center serves as a fascinating case study in how cultural change occurs—not just through artistic programming, but through the complex interplay of politics, money, and public opinion that determines which voices are heard and which stories are told on America’s most prestigious stages.
