Trump's Kennedy Centre Takeover Puts Opera Company's Future in Jeopardy
The prestigious Washington National Opera is contemplating a dramatic departure from its Kennedy Centre home, where it has performed since the national arts venue opened in 1971. This potential move comes as a direct response to what artistic director Francesca Zambello describes as Donald Trump's "takeover" of the institution.
Financial Freefall and Donor Exodus
The company faces severe financial challenges following President Trump declaring himself chair of the Kennedy Centre in February. Ticket sales have plummeted to approximately 40% unsold compared to pre-takeover figures, with Zambello revealing they now operate at about 60% capacity compared to the previous 80-90%.
Philanthropic support has equally suffered, with donor confidence described as "shattered." Zambello explained that many former supporters now believe contributing to the Kennedy Centre equates to supporting Donald Trump directly. The artistic director receives daily messages from boycotting audience members, including returned season brochures shredded in envelopes with notes vowing never to return while Trump remains in power.
Management Clashes and Artistic Concerns
The new leadership, including Trump-appointed president Richard Grenell, has implemented controversial changes. Grenell has issued an edict requiring all shows to achieve "net neutral" status, meaning costs must be entirely covered by box office returns and donations. Zambello questions how this is achievable given current attendance and funding levels.
While no programming choices have been vetoed, management has suggested producing more popular operas and questioned both the company's commitment to 50% non-white casting and artists' fees. Staffing in crucial departments like marketing and development has been significantly reduced, compromising the centre's operational capacity.
Exploring Alternative Futures
With the current affiliation agreement recently renewed just before Trump's takeover, WNO is actively investigating alternative Washington DC venues for its October 2026 to May 2027 season. Suitable main-stage opera theatres are scarce, though smaller-scale works might utilise auditoriums belonging to the Shakespeare Theatre Company.
The situation reflects a broader trend across the Kennedy Centre, with a Washington Post analysis showing box office revenue down by 40% centre-wide compared to 2018 baseline figures. Internal reporting has changed too, with daily show reports no longer circulating box office figures among creative teams.
Despite these challenges, Zambello remains committed to artistic excellence and diversity, noting that artists have largely remained loyal to the company, though some productions like Fellow Travelers have been withdrawn from the programme in protest.
