One month after NEA funding cuts, Atlanta theater leaders balance creativity and cost control

A photo still from "Young John Lewis," a historical-based musical running at Theatrical Outfit until July 6. (Courtesy of Theatrical Outfit)

Art is not just limited to a song or a painting.

At least that’s according to the philosophy of Paul Conroy, a longtime Atlanta resident and founder of Midtown’s OutFront Theatre, Georgia’s only theater company dedicated to telling LGBTQ+ stories.

“You get in your car – that car was designed by an artist. You turn on the radio, you’re hearing music that was created by an artist. The clothes you’re wearing, someone had to design those,” he said. “Every day in our lives, the arts play such a big part of everything that we do.”

Which is why he and many of his colleagues have struggled to understand the continued decline of funding for cultural and arts organizations nationwide.

“[Theater] invigorates a city, and it invigorates culture … it creates a sense of identity and richness to be experienced in life.”

Matt Torney, Theatrical Outfit creative director

In early May, hundreds of nonprofit organizations received email notifications that their grants from the National Endowment for the Arts (NEA) had been withdrawn and terminated. It was a move that came shortly after President Donald Trump proposed eliminating the agency from the federal budget altogether.

The decision sparked criticism and outrage from creatives and arts organizations, including several theater owners across metro Atlanta.

In a statement of solidarity issued shortly after the NEA cuts were announced, Atlanta theater leaders declared their support for local artists and their commitment to keeping their stage curtains open.

“Atlanta is one of the most vibrant and creative cities in the country,” the statement read. “And regardless of the challenges the future holds, we honor the beautiful artistic heart of our home, and commit to doing all we can to keep it beating.”

And one month later, many theater owners are using their resources, creativity and faith to do just that.

Setting the stage for survival

In an early June Zoom interview, Theatrical Outfit artistic director Matt Torney recounts the long nights he experienced in preparing for the company’s latest production, “Young John Lewis,” a musical based on the early 20s of the civil rights legend.

While the theater, which has been a staple in Atlanta’s art scene for over 45 years, is used to the challenges typical of any new show — changing blocking, rewriting dialogue and tweaks to the musical score — inflation has proven to be a growing factor.

“The NEA, they basically pulled the plug on our funding, pretty much all arts funding in the country except a small minority of projects,” he notes.

“It’s very tough as an arts leader when you’re trying to rebuild when 9:30 p.m. on a Friday, you get news that a grant that you have already been rewarded has been cut.”

An Irish native, the director grew up immersed in culture and arts programs funded by his country’s government. In the United States, he is perplexed by the lack of federal support for an industry that he believes is both inspirational and profitable.

“It invigorates a city, and it invigorates culture … it creates a sense of identity and richness to be experienced in life,” said Torney. “I think based on the actions of the current administration so far, arts and culture is not a priority. Education is not a priority. Science is not a priority. And I wonder what the effects are going to be long term.”

According to Conroy, the state government has also granted arts leaders the same level of support.

“It’s interesting because I think that the funding of the arts overall in the state of Georgia has always been abysmal,” Conroy added. “I feel that arts organizations in and around the Atlanta area have had to be creative and scrappy because the arts have not been a priority on the state level.”

A photo still from the OutFront Theatre production of “Hairspray,” which ran at the venue from October 24 – November 9, 2024. (Courtesy of OutFront Theatre)

Theatrical’s greatest secret weapon since the post-COVID period has been partnerships and collaborations with other arts organizations throughout the city.

On nights when OutFront does not hold productions, special events such as drag shows, movie screenings and karaoke nights are held. It not only supplements income, but also makes those coming in repeat customers.

“I’ve come to the philosophy that a theater is simply a place for people to gather to tell stories and hear stories, and that doesn’t have to be a full-scale production,” he said. “It can be a game night. It can be a hundred different things.”

Shining a light on the community

In addition to the federal government’s restriction of funding, another aspect that arts leaders fear has come under attack from the Trump administration is the commitment to diversity, equity and inclusion.

Shortly after being elected in January, Trump appointed himself as chair of the Kennedy Center, the national cultural hub for the U.S.

President Donald Trump and first lady Melania Trump arrive to view opening night of “Les Miserables,” at the Kennedy Center, Wednesday, June 11, 2025, in Washington. (AP Photo/Alex Brandon)

Alongside board members, all appointed by him, Trump wrote in a February Truth Social post that he hoped to return the center to the “GOLDEN AGE of American Arts and Culture,” where there would be “NO MORE DRAG SHOWS, OR OTHER ANTI-AMERICAN PROPAGANDA.”

And in a recent dinner with the Kennedy Center board, the president referred to the past programming as “rampant political propaganda, [diversity, equity and inclusion] and inappropriate shows.”

These attitudes raise concern for Torney, who considers exploring diverse characters and worlds in his productions as not just desired, but vital.

A photo still from “Young John Lewis,” a historical-based musical running at Theatrical Outfit until July 6. (Courtesy of Theatrical Outfit)

“Stories exist to help us understand one another and the world better. And the more chaotic and confusing the world becomes, the deeper our need for stories and artists to help create connections between the communities.”

He cites the theater’s production of “Young John Lewis” as an example, noting that he and his staff have received feedback indicating that they helped introduce Lewis’ legacy to some younger audience members who were previously unaware of the civil rights legend.

“We’re important and we’re here. And regardless of what happens with money, we’re not going to go anywhere.”

Paul Conroy, founder of Midtown’s OutFront Theatre

“That’s why we chose to tell the story of young John Lewis … and because children are not getting that education in schools, it is something that we can offer them in the theater,” he notes.

Conroy, while upset, is prepared for OutFront and other LGBTQ arts organizations to be “the first in the line of fire.”

A photo still from “Trick The Musical,” an OutFront Theatre production which ran from May 1 to May 17 at the venue. (Courtesy of OutFront Theatre)

“With the National Endowment for the Arts, the first statement that they put out that their grant funding would be cut back, was about that they would not be funding companies that promoted gender ideology — so right away, their first attack was against the LBGTQ+ community, then with the Kennedy Center, those attacks continued,” he said.

“I’ve heard in other cities, not in Atlanta, people and companies talking about changing their mission, or scaling back on programming that might feature LGBTQ stories or characters, or whatever that might be, but we can’t do that.”

Conroy notes that OutFront often collaborated with other LGBTQ+ arts organizations and nonprofit organizations focused on unhoused LGBTQ youth and HIV testing.

When asked if he feels anger against the administration for their anti-queer stance, his response is slightly unexpected.

“I feel sorry for them, because I feel like they are not willing to open their minds and their hearts just to have a conversation … I don’t live my life with that much hatred, and I don’t know how anyone else could either,” he says nonchalantly.

“We’re important and we’re here. And regardless of what happens with money, we’re not going to go anywhere.”