Good morning 👋🏼 This week we’re diving deep into a story that’s bubbled up amidst the political chaos of the past 30 days.

The Kennedy Center has always been more than just a venue. It’s a symbol—the nation’s official performing arts center. A place where presidents and playwrights, opera singers and activists, ballet dancers and Broadway legends have shared the same stage. It’s where the country comes together to celebrate its artists and to enshrine cultural legacy.

And now, Donald Trump is in charge.

What does this mean for The Kennedy Center? For the arts? For the broader cultural landscape in the U.S.?

Let’s get into it.

The Beginning

The idea of a national performing arts center wasn’t always a given. In fact, the U.S. was late to the concept. While Europe had long-established institutions like the Royal Opera House and the Paris Opéra, America had no federally designated space for the arts.

That changed in 1958 when Congress passed the National Cultural Center Act, laying the foundation for what would become The Kennedy Center. But momentum stalled—fundraising was slow, and the project struggled to get off the ground. Then, John F. Kennedy took office.

Kennedy was deeply invested in the arts. He saw culture as essential to the nation’s identity, something that should be nurtured and celebrated at the highest levels. His advocacy brought renewed energy to the project, and after his assassination in 1963, it was officially renamed in his honor.

When The Kennedy Center finally opened its doors in 1971, it wasn’t just another arts venue—it was a statement. A sprawling, modernist temple to creativity, built to symbolize the country’s commitment to the performing arts. Home to the National Symphony Orchestra, the Washington National Opera, and a stage that would host everything from Broadway transfers to world-class ballet, it set the standard for arts institutions in America.

For more than five decades, it has upheld that legacy. But the role of a national arts center is shaped by the people who lead it—and leadership is shifting.

The Legacy

If Broadway is where theater gets made, The Kennedy Center is where it gets canonized.

From Tony-winning productions to world premieres, presidential performances to international showcases, The Kennedy Center has been the backdrop for some of the most defining moments in American culture.

It’s home to the Kennedy Center Honors, which, since 1978, has been the country’s highest recognition for lifetime artistic achievement. It’s the stage where Meryl Streep, Stevie Wonder, and Sondheim have been celebrated, where legends are cemented into history. It’s also where the Mark Twain Prize for American Humor has honored the greatest comedic voices of our time—from Richard Pryor to Tina Fey to Dave Chappelle.

But The Kennedy Center isn’t just about prestige—it has also been a force for keeping the arts alive and accessible. It has commissioned hundreds of new works, provided stages for emerging artists, and invested deeply in arts education, from national touring programs to in-school initiatives that reach students who might not otherwise have access to the performing arts.

For decades, The Kennedy Center has stood as a national commitment to the arts—a reminder that culture isn’t just entertainment, it’s part of who we are.

But like any institution, it exists within the political landscape.

The Politics

For all its cultural prestige, The Kennedy Center has always been tangled in politics—because unlike Broadway or the Met, it’s a federally funded institution.

Each year, Congress allocates tens of millions in federal funding to keep it running, covering maintenance, operations, and arts programming. But that funding has made it a target.

• Budget battles. Every few years, the Kennedy Center’s funding becomes a political flashpoint. Some argue that taxpayer dollars shouldn’t support the arts at this scale, while others see it as an essential investment in national culture.

• The 2020 bailout controversy. When COVID-19 shut down live performance, Congress approved a $25 million relief package for the Kennedy Center. The backlash was swift—conservatives painted it as an unnecessary handout while other industries struggled, despite the fact that every major arts institution was in crisis.

• Trump’s past attempts to gut arts funding. As president, Trump repeatedly proposed eliminating the National Endowment for the Arts (NEA), which partially funds the Kennedy Center. Those cuts never passed, but they signaled just how vulnerable the institution’s funding can be.

Now, the Kennedy Center is facing another test. Trump isn’t just criticizing from the outside anymore—he’s running the place.

The Takeover

The Kennedy Center has traditionally been a non-partisan space—one of the few places where art and politics don’t fully collide. That’s changing.

Donald Trump has taken over as chairman of The Kennedy Center’s Board of Trustees. And while the role is traditionally more ceremonial than operational, his arrival has already sent ripples through the institution.

What’s actually happening?

• Board shake-ups. Trump replaced several longstanding trustees with his own picks, including political allies like Pam Bondi and “cultural figures” like Lee Greenwood.

• Leadership changes. Kennedy Center president Deborah Rutter was dismissed. In her place? Richard Grenell, a former Trump ambassador with no arts administration background.

• Programming shifts. A few performances have already been canceled—including a children’s musical and a concert by the Gay Men’s Chorus of Washington, D.C.

• Artists are leaving. Shonda Rhimes, Ben Folds, and Renée Fleming have all stepped down from their Kennedy Center roles, and performers like Issa Rae have cancelled their scheduled shows.

What can we actually do?

If this moment makes you feel uneasy or unsure, you’re not alone. But here’s the thing: art doesn’t belong to institutions—it belongs to the people who make it and the people who show up for it.

Stay engaged and hold institutions accountable. Keep watching. Keep asking questions. Keep paying attention to the shifts in programming, leadership, and funding. Institutions evolve based on public pressure and participation, and this is a moment where voices matter.

Support local arts organizations. While The Kennedy Center makes headlines, small theaters, orchestras, and arts organizations across the country are struggling to survive. Many rely on grants, ticket sales, and community donations to stay afloat. If you want to make a direct impact, this is the time to support local arts—whether that means subscribing to your regional theater, donating to a nonprofit arts collective, or just showing up for performances in your community.

Back the artists you love—directly. If there’s an artist or creator whose work moves you, find ways to support them beyond the institutions they work within. Artists will always find ways to create—and their ability to keep doing so depends on the people who believe in them.

So yes, Trump is now running The Kennedy Center. But art is bigger than one person or place. It always has been. And it always will be.

☝🏼 One last thing…

I’ve been so moved by how many of you have reached out with questions, that I wanted to just reiterate that my inbox is open! If you have a specific hill you’re climbing or quandary that’s bouncing around your brain—I’d love to hear about it and see how I can be helpful.

I’m planning on sharing and answering some of the most popular questions in upcoming newsletters, so keep ‘em coming.

As always, if you’ve gotten value out of this or another edition of The Fourth Wall, please share it directly with someone or just on the internet at large. We’re close to crossing 600 subscribers, and I think when we hit 1000 we’ll have to throw some kind of in-person (or virtual) party.

I appreciate you being here more than you know.

See you next week!