In April 2025, a group of U.S. senators joined forces with Broadway producer Jeffrey Seller to host a Pride-themed event titled "Love Is Love" at the Kennedy Center’s REACH campus in Washington, D.C. Though the venue was rented by the lawmakers, the event itself was not affiliated with the Kennedy Center’s official programming. The performance, directed by Seth Rudetsky and James Wesley, featured music celebrating LGBTQ culture. This gathering comes after Seller and Lin-Manuel Miranda canceled a future production of Hamilton at the center following political changes under the Trump administration earlier that year. The evening was framed as a symbolic reclamation of the space for inclusive artistic expression.

The idea for the event reportedly began when Senator John Hickenlooper reached out to Seller, proposing a form of “guerrilla theater” aimed at making a statement about freedom of expression and equality. Seller, known for his work on shows like Rent and Avenue Q, quickly agreed. He described the performance as a way to reassert presence in a venue that had recently seen shifts in leadership and artistic direction. The show was intended to highlight both the progress made by the LGBTQ community and the ongoing challenges it faces in the cultural and political landscape.

Earlier in the year, when President Trump assumed control of the Kennedy Center, several high-profile arts events were canceled or removed from the schedule. In response, Seller and Miranda pulled their planned 2026 tour of Hamilton from the venue. Seller criticized the administration’s approach, saying it conflicted with the core values the center was meant to represent. The decision was met with sharp criticism from then-Kennedy Center president Richard Grenell, who accused the duo of using the move as a publicity stunt and claimed they were unwilling to engage with differing political views.

At the same time, the federal government proposed a significant funding boost for the Kennedy Center while cutting support for other arts institutions across the country. The nearly $257 million request was specifically earmarked for infrastructure improvements, including repairs and security upgrades. While this financial backing raised questions about political influence over the arts, the Pride event organized by the senators and Seller served as a reminder of how art can be used to challenge authority and advocate for social change.

The evening’s performance was more than just entertainment; it was a deliberate act of cultural resistance. By staging the event within the Kennedy Center’s premises but independent of its administration, the organizers aimed to reclaim the space for diverse voices and perspectives. As debates over the role of politics in the arts continue, such initiatives reflect the broader struggle for representation and inclusion in American cultural institutions.