Tl; dr

WNO has announced its spring schedule and new venues with the main productions at the Lisner Auditorium. Good for them.

https://dctheaterarts.org/2026/01/17/washington-national-opera-announces-new-venues-for-spring-season/

Gemini summary:

The first post by DavidStriar contains the following points:

* Context: The Washington National Opera has severed ties with the Kennedy Center due to political and practical reasons.

* Criticism of Local Debate: The author argues that community discussions regarding the logistics of new venues (parking, acoustics, storage) are trivial compared to larger issues.

* Political Parallel: He compares the current U.S. administration to the authoritarian regime in Iran, noting that both represent an attack on "creativity, inspiration, culture and inclusion."

* Priority of Integrity: He maintains that the Opera should prioritize its moral and artistic mission over physical facilities, suggesting it perform in grocery stores or subway stations if necessary.

* Call to Action: He concludes that the most urgent requirement is for citizens to show the same courage as Iranian protestors in fighting for the "soul of the country."

Stay and fight the power.

Don’t cut and run.

Anonymous wrote:try paragraphs with line spacing

And all caps for a title. Hard pass.

It was the correct move, and we will continue to support the Opera, wherever they are performing

I’m all for taking a stand, but serious questions, how well-off are cast members? This is a long haul situation.

That's true. We also need to keep our priorities straight.

Please can be concerned about multiple things at one time. And there’s plenty to be concerned about.

try paragraphs with line spacing

As many of you know the Washington National Opera has severed ties with the Kennedy Center for what appears to be a mix of practical and political considerations.

Meanwhile, as folks on the various neighborhood list serves are arguing over whether there’s enough storage or parking space or whether the acoustics are ideal for the opera company to relocate to the Uptown theater, the Strathmore or the Intelsat building, thousands of protestors have been killed by a government in Iran that in many ways mirrors the extremism of our own authoritarian regime. There isn’t going to be a perfect place for the Washington Opera to go but at the moment that’s not the most important thing. The most important thing is to take a stand against the takeover of a venerable institution dedicated to the arts by a man and an administration that is the antithesis of what that institution stands for: creativity, inspiration, culture and inclusion. The Washington Opera will do what it needs to do without sacrificing its moral and artistic integrity. As some suggest it will find a creative way to continue even if that means smaller sets or no sets at all. Even if it means mounting a production in the neighborhood grocery store or subway station. Relatively speaking, at this point in time when so many more important things are at stake, when the soul of the country itself is under attack, does it really matter if for now, instead of special effects we are forced (God forbid) to use our imagination? The more pressing and important question shouldn’t be whether we will be able to put up with a less than ideal venue for the local opera company, but whether if it comes to that and I fear it may, like the brave protestors in Iran who are openly defying the government and calling for an end to the clerical regime, we will have the courage and the character to fight for the things without which this country will no longer deserve our love, our pride or our respect.