The future of the Washington National Opera (WNO) may lie outside the Kennedy Center. This new decision represents the latest and most important management changes in response to dramatic changes imposed by Donald Trump. In February, Trump assumed the position of chair on the Kennedy Center’s board. This change of course set off a series of monumental upheavals throughout its leadership and operational commands. These changes have led to fears about the future of the organization’s artistic programming and the confidence of future donors in the institution.
Richard Grenell, a former Trump ambassador to Germany, whom Trump named president of the Kennedy Center, cleared out the prior board and executive leadership. And indeed, under Grenell’s new management, the Kennedy Center has moved away from presenting contemporary work to prioritizing the development of more commercially successful operas. This new regulation requires that every production be on a budget that is “net neutral.” That’s because production costs are the only expenses that are required to be covered, and those must come solely from box office revenue and donor contributions.
The effect of these alterations hasn’t just been superficial. It has been striking and deep. Box office sales during the pandemic at the Kennedy Center are down 40% from 2018 projections. With all eyes on Washington and DC’s WNO, Francesca Zambello, artistic director of the WNO, lamented her disgruntlement with the current climate.
“Donor confidence has been shattered because many people feel: ‘If I give to the Kennedy Center, I’m supporting [Donald Trump],’” – Francesca Zambello
Up until these changes, the WNO had been invigorated by incredible audience engagement. Their act consistently played to 80% to 90% capacity on a nightly basis. The current climate has deterred patrons. At a recent National Symphony Orchestra concert, angry patrons took to throwing hissy fits at their displeasure. Their reaction was to boo when repugnant duo JD Vance and Usha Vance—recently appointed board members—took the stage.
That leadership shake-up has had an impact not only on audience reception, but on the all-important creative direction of the WNO. After these changes, the team behind the opera “Fellow Travelers” withdrew their production from the Kennedy Center. Instead, the venue has opted for alternative productions such as Robert Ward’s “The Crucible,” leaving several artists unsettled about their future.
Zambello highlighted further complications, noting that management’s insistence on cost-cutting has led to discussions about hiring less expensive artists, undermining the WNO’s mission to showcase emerging talent.
“They have said: ‘Could we consider less expensive artists?’ We’re a feeding ground for bigger companies in this country,” – Francesca Zambello
Adding to these challenges, philanthropic giving to the WNO has experienced a drop-off as well. Heretofore, a colorful network of GOP and DEM social progressives. This time, the pressure is on, with some members already reconsidering their participation in light of the pressure that Trump himself has put on them. As our new board member, Usha Vance has a long history serving as a trustee of the WNO. Now, she serves on arguably the most partisan board in the country.
This singular focus on profitability has resulted in a culture where financial transparency has gone by the wayside. Today, creative teams have stopped sharing box office numbers in house. Zambello detailed the lack of financial transparency and its impact on future productions.
“We’re at the point where now we can’t present a net-neutral budget without an epic amount of outside funding, or knowing that our patrons would come back,” – Francesca Zambello
Zambello remains hopeful for the WNO’s long-term prospects at the Kennedy Center. She knows they will have to consider other venues if their fundraising efforts do not improve.
“It is our desire to perform in our home at the Kennedy Center. But if we cannot raise enough money, or sell enough tickets in there, we have to consider other options,” – Francesca Zambello
We’ve heard from audience members who are understandably outraged at what has occurred. They pledge not to come back as long as Trump continues to have his impact at the Kennedy Center.
“I’m never setting foot in there until the ‘orange menace’ is gone,” said one former loyal patron.
Another audience member expressed similar sentiments about their lack of willingness to patronize an establishment linked to Trump.
“Don’t you know history? Don’t you know what Hitler did? I refuse to give you a penny,” said another disgruntled attendee.
Others have signaled that they will not come back as long as Trump’s policies continue to rule the institution.
“Never, never, will I return: while he’s in power,” stated a dissatisfied patron.
Artistic sensibilities are creating a backlash against the Kennedy Center’s unanticipated and dangerous collaboration with the administration. What these changes will mean for the Washington National Opera and the growing cultural ecosystem in Washington remains to be seen. Across this season, the Kennedy Center will be bringing in some pretty knockout opera productions. Get ready for productions of “The Marriage of Figaro,” “Aida,” and “West Side Story”! These productions could attract larger audiences as well. However, despite these positive developments, nagging questions still linger about the future institutionalization of artistic integrity as leadership changes.