Glitter and Resistance: Drag Artists Confront Trump at the Kennedy Center

The Kennedy Center’s gilded halls echoed with applause—not for the president, but for the drag performers who turned his night into a spectacle of resistance.

On June 11, 2025, as President Donald Trump and First Lady Melania Trump attended the opening night of Les Misérables at the Kennedy Center, a group of drag artists infiltrated the audience, transforming the theater into a stage for protest. Vagenesis, Mari Con Carne, Tara Hoot, and Ricky Rosé, members of the drag activist collective Qommittee, donned their most extravagant ensembles and entered the venue, met with cheers from the audience. Their presence was a direct challenge to Trump’s recent actions, including his appointment as chairman of the Kennedy Center’s board and the subsequent ban on drag performances at the institution .

A Night of Contradictions

Inside the theater, the atmosphere was charged with irony. Les Misérables, a musical centered on themes of resistance and revolution, played out before an audience that included far-right figures and Trump appointees. The juxtaposition was stark: a president who has criticized drag culture and a performance celebrating defiance against oppressive regimes. The drag performers’ entrance was met with applause, a stark contrast to the mixed reception of the president, who faced both boos and cheers.

Voices of Defiance

Mari Con Carne, an immigrant, emphasized the importance of visibility in the face of adversity. “We aren’t here to hurt or groom or manipulate anybody,” she asserted. “We just wanna enjoy art.” Her statement underscored the performers’ commitment to their craft and their community, challenging the narrative of harm often associated with drag culture by its detractors .

The Broader Implications

This act of protest is part of a larger cultural battle. Trump’s leadership overhaul at the Kennedy Center, including the dismissal of board members and the cancellation of productions like Finn, has sparked outrage among artists and activists. The drag community, in particular, views these actions as part of a broader effort to erase LGBTQ+ representation from public spaces. The Qommittee’s involvement in the protest highlights the intersection of art and activism, where performance becomes a form of political statement.

An Ongoing Struggle

The protest at the Kennedy Center serves as a reminder that the fight for artistic freedom and LGBTQ+ rights is ongoing. As the drag artists continue to perform and advocate, they embody the resilience of a community determined to maintain its presence in the cultural landscape. Their actions challenge us to consider the role of art in society and the power of performance as a form of resistance.

In the face of efforts to silence them, drag artists are not retreating—they are stepping into the spotlight, demanding to be seen and heard. Their glittering gowns and bold performances are not just acts of entertainment; they are declarations of existence and defiance. As the cultural landscape shifts, one must ask: who gets to decide what art is worthy of a stage?