norman lebrecht
August 14, 2026
The former music director of the National Symphony Orchestra is concerned about capital affairs:
The Unasked Questions
By Leonard Slatkin
After several weeks of relative quiet, a flurry of articles, speculation, and limited action emerged regarding the situation at the Kennedy Center. Several reports outlined possible scenarios for mid- and late August.
We had politicization, finger-pointing, and blame. What we did not have were many concrete answers to basic questions, the ones that will ultimately shape the future of the beleaguered structure and its occupants. Most have left the building, with the Washington National Opera and the Performing Arts Society among the most prominent departures. The long-running show “Shear Madness” closed. From early July, there were no performances to be seen or heard.
The primary, and only full-time, constituent of the Center is the National Symphony Orchestra. The NSO benefits most from the parent organization’s umbrella, and its stature has grown over the past few seasons. However, it is overseen by two boards: the Kennedy Center Board and the NSO Board, with the latter answerable to the former. We have heard very little from the latter during this tumultuous period.
What we learned on August 13th is that the Kennedy Center still intends to close the building for 2 years. That plan remains subject to a federal judge’s opinion, expected by the end of the month. A few specific items were identified as critical, including moving the iconic bust of JFK to an undisclosed location. No reason was given.
However, some of the most important issues remain unaddressed, and it is imperative to understand what is actually planned.
Governance and budget: We were supposed to have a decision as to whether the Kennedy Center Board would approve the NSO’s budget. Did that occur?
Financial impact: If the orchestra performs outside the Center and must absorb rental fees for relocation venues, how much will that add to last season’s deficit? The same question applies to any musicals, plays, and ballet programs that may have been scheduled under the auspices of the Center.
Timeline and scope: When will the “renovation and restoration” begin, and does the two-year timeframe start on the first day of reconstruction?
The Center’s other orchestra: Has the orchestra of the Opera House been dissolved?
Staffing: How many employees from last year’s Center have been let go, including stagehands, lighting technicians, box office personnel, and others?
Season announcement: When will the National Symphony present its 2026–27 season, and how will it promote offerings to current subscribers and the general public? The usual start of the orchestra’s performances is a month from now. That means just a few weeks to inform everyone, including the orchestra, as to what is taking place.
Definition: Doesn’t “restoration” imply returning something close to its original state? How do you restore something after tearing it down?
Artistic priorities: What will be the balance between artistic integrity and fiscal responsibility?
Audience behavior: Will suburban audiences become accustomed to major performing arts in their neighborhoods and decide they no longer want to travel downtown?
Responsibility to young people: What has happened to the Center’s education initiatives?
There are, of course, several more questions, but these outlined must be addressed now and to the satisfaction of all parties concerned. Without clear answers on governance, finances, artistic planning, staffing, audiences, and education, the Center’s future remains at best, insecure. There is no point in having a performing arts center if there are no performing arts taking place.
https://slippedisc.com/2026/08/leonard-slatkin-unasked-questions-at-the-kennedy-center/