The Kennedy Center is facing a steep decline in ticket sales as President Donald Trump’s rebrand of the institution appears to be falling flat with Washington audiences. Once a premier cultural hub of the capital, the venue is now struggling to fill its seats, with subscription revenue plunging and some longtime performers leaving altogether.
Last week, the Trump-controlled center appointed Stephen Nakagawa, a self-described “MAGA former dancer,” as its new director of dance programming. Nakagawa, who has criticized what he calls “radical leftist ideologies” in ballet, fits into Trump’s push to turn the Kennedy Center into a “non-woke” entertainment venue. But the challenge of attracting skeptical audiences in the capital remains significant.
Ticket sales data reviewed by the Washingtonian show the depth of the crisis. The Opera House, which Republicans hope to rename after first lady Melania Trump, is expected to be just 4 to 19 percent full for the Stuttgart Ballet’s run next month. In the smaller Eisenhower Theatre, the Los Angeles dance troupe BodyTraffic is set to perform before a crowd at just 12 percent capacity in late October.
The Alvin Ailey American Dance Theatre, a longtime Kennedy Center staple, has instead shifted its upcoming performances to the Warner Theatre. “Big yikes,” a current Kennedy Center staffer told The Washingtonian when asked about the data.
The magazine also reported that subscription revenue has dropped by about 50 percent. In June, revenue from subscriptions for the upcoming season was already down 36 percent from the previous year. The numbers suggest Washingtonians are unwilling to pay steep ticket prices at a venue many now view as politically hijacked, especially as Trump pushes ahead with his unpopular military occupation of the city.
The culture clash has spilled into performances. When Trump and Melania attended the opening night of Les Misérables in June, the couple was greeted with a chorus of boos. Pro-Trump attendees attempted to counter with chants of “USA! USA!” Nakagawa secured his role after writing to Richard Grenell, Trump’s appointee as president of the Kennedy Center, complaining about the “rise of ‘woke’ culture” in ballet.
“Through bold programming and a renewed commitment to artistic excellence, I would love to be part of a movement to end the dominance of leftist ideologies in the arts and return to classical ballet’s purity and timeless beauty,” wrote Nakagawa, a former Washington Ballet dancer who often performed villainous roles such as Von Rothbart in Swan Lake and Carabosse in Sleeping Beauty, according to a copy obtained by The New York Times.
Trump, who once dreamed of becoming a theater producer, made clear his vision when installing Grenell earlier this year. “NO MORE DRAG SHOWS, OR OTHER ANTI-AMERICAN PROPAGANDA — ONLY THE BEST,” he declared on Truth Social. He later suggested programming staples such as Cats, Phantom of the Opera, and Fiddler on the Roof in place of what he derided as “woke” productions.
Nakagawa replaces Jane Rabinowitz Raleigh, who was fired on August 21 after being told to focus on programming “more broadly appealing” and less “niche,” citing shows like So You Think You Can Dance as examples.