President Donald Trump encountered some hostile audience members at the Kennedy Center in Washington, D.C., during the opening night of “Les Misérables” on June 11, 2025. Some people expressed disapproval of his presence, while cast members organized boycotts in response to his contentious control over the esteemed arts venue.
The crowd’s response was mixed, with expletives and accusations directed at Trump, while some attendees chanted “USA” in support. As he took his seat, some in the audience vocally expressed their displeasure, reflecting the strained dynamics between the President and the arts sector.
Trump’s reaction to the criticism suggested a sensitivity to public disapproval. When questioned about the cast members planning a boycott, Trump dismissed their actions, stating, “I couldn’t care less” and claiming, “All I do is run the country well.” His response illustrated his consistent approach to opposition from artistic circles throughout his presidency.
The situation arose from Trump’s unprecedented control of the Kennedy Center, which involved dismissing longtime chairman David Rubinstein and the entire board, replacing them with loyalists who subsequently appointed him chairman. This drastic restructuring has drawn criticism from the arts community, which sees it as undue political interference in cultural affairs.
Ten of the 12 principal cast members of “Les Misérables” reportedly considered not attending the performance to protest Trump’s presence. This widespread artistic dissent highlighted the deep opposition within the performing arts community to his forceful approach to cultural institutions.
Adding to the tension, a group of drag performers attended the show using tickets donated by patrons opposing Trump’s presence. The drag queens staged a protest in the auditorium, strategically seated in front of the presidential box, engaging directly with Trump through the type of performance he aims to remove from the Kennedy Center’s programming.
Trump’s discomfort with criticism has led to efforts to reshape the Kennedy Center according to his political views. He has pledged to eliminate programming he deems “woke,” specifically targeting drag performances and LGBTQ+ events, which he labels “anti-American propaganda.” This initiative represents an attempt to control cultural narratives and prevent future public embarrassment.
The President’s sensitivity to rejection from the arts community extends to his broader efforts to cut federal cultural funding. His administration has proposed eliminating the National Endowment for the Arts, the National Endowment for the Humanities, and the Corporation for Public Broadcasting entirely. The NEA has already informed dozens of organizations that their grants have been rejected or rescinded, impacting more than 200 organizations, resulting in the withdrawal of $5.9 million in funding.
Subscription sales have declined at the Kennedy Center since Trump’s takeover, and several prominent performers have canceled scheduled appearances to avoid the controversy associated with the Trump-led venue. Canadian author Louise Penny withdrew from a planned book launch event, illustrating how Trump’s approach has deterred critics.
The evening was described by observers as having a “MAGA-does-Broadway” atmosphere, with Trump-appointed officials in attendance alongside Vice President JD Vance and Attorney General Pam Bondi. The presence of administration loyalists appeared to provide a buffer for Trump against the public criticism he has faced throughout his political career.
Critics noted the irony of Trump attending “Les Misérables,” a musical about rebellion against corrupt government, while concurrently using his position to reshape cultural institutions to sidestep criticism. The show’s themes of social justice and revolutionary struggle against oppression highlighted the disconnect between Trump’s actions and the artistic works he professes to appreciate.
Trump has appointed loyalist Richard Grenell as the new leader of the Kennedy Center, ensuring that future programming aligns with his preferences and reduces the likelihood of public embarrassment. This systematic approach to managing cultural institutions reflects his ongoing challenges in handling criticism from the arts community, which has consistently opposed his policies and leadership style.