Following the controversial renaming of the John F. Kennedy Center for the Performing Arts, a number of artists have chosen to cancel their scheduled performances. This decision came after Donald Trump’s name was added to the building’s facade on December 19, stirring backlash from various scholars and political figures who are questioning the legality of this action.
Stephen Schwartz, the renowned composer of the musical “Wicked,” announced that he would withdraw from a gala performance planned for May in honor of the Washington National Opera. Schwartz expressed his concerns, stating, “The Kennedy Center was founded to be an apolitical home for free artistic expression for artists of all nationalities and ideologies. It is no longer apolitical, and appearing there has now become an ideological statement. As long as that remains the case, I will not appear there.”
Despite his public stance, Kennedy Center President Richard Grenell countered Schwartz’s claims by asserting that he had never signed Schwartz for the event and criticized media coverage around the cancellations.
Jazz ensemble The Cookers also decided to cancel their two New Year’s Eve performances, releasing a statement emphasizing the music genre’s roots in the fight for freedom and expression. The group acknowledged that Trump’s name change “evidently” influenced their decision, with drummer Billy Hart elaborating on the personal connection artists feel to their performance spaces.
In addition to The Cookers, Doug Varone and Dancers announced the cancellation of two performances set for April, which would have marked the company’s 40th anniversary. Creator Doug Varone admitted the financial impact of the cancellation was significant, citing a loss of $40,000, but described the decision as “morally exhilarating.”
Folk artist Kristy Lee also withdrew from a free concert scheduled for January 14, recognizing the financial strain but emphasizing that maintaining her integrity was worth more than any loss of income.
This wave of cancellations also saw Chuck Redd cancel his annual Christmas Eve performance, which prompted Grenell to seek $1 million in damages. Grenell criticized the artists who had decided to withdraw, suggesting they were booked by a previous administration more focused on political agendas than artistic merit.
Despite the financial setbacks, Varone indicated that his dance company had received an encouraging response from supporters eager to assist through donations, further highlighting the community’s commitment to the arts during these contentious times. As artists navigate their individual choices, the reactions reflect a broader conversation about the intersection of politics and art.