Love him or hate him, Donald Trump is a charismatic individual. On Sept. 23, he gave a speech to the United Nations (U.N.), in which he referenced a broken escalator, broken teleprompter, and a construction job that went over budget and lacked taste.

Coming from the world of celebrity, appearances aren’t everything, but they’re pretty close to everything. Now, this commentary is not to measure the president’s speech from a policy point of view, but rather a social and cultural point of view. The president knows how to work a room, far exceeding the voluntary 15-minute time limit for statements in the general debate whilst also garnering numerous laughs from attendees. Although his policies may have created a stirring in audience members, his performance as president of the United States fixed his worldview into the minds of listeners. Donald Trump’s speech at the U.N., though controversial, points to the effectiveness and importance the physical landscape that the U.N. Chamber provides.

The recent peacocking at the United Nations is not the first by any means, as there is a long history of the world’s political stage being exactly that, a stage; and focus of theatrical spectacle. The great halls echo throughout history; its amphitheater design evokes a playhouse; spotlights, the podium, headsets, camera angles, and even escalators all enforce visibility and symbolism. Every pause, applause, and walkout carry meaning, just as much as technical breakdowns become dramatic devices in this continual performance of power and play. While yes, actions and arguments and substantial policy do significantly matter, performance and perception are just as important, if not more so. Trump is a master at turning technical failure into narrative grievance, and the U.N. building itself becomes a living character in his performance.

Emphasizing Trump’s totality during his speech, Trump said, “During the campaign, they had a hat; the best-selling hat, ‘Trump was right about everything.’ And I don’t mean that in a braggadocious way, but it’s true.” History and perspective are ultimately the test of right and wrong, but it’s worth arguing that the president is in good company. Trump’s “broken stage” echoes numerous other diplomats throughout history. Khrushchev supposedly banged his shoe on his desk in protest at the U.N. in 1960, which became a global headline. Whether myth or fact, it became symbolic of the Cold War spectacle. Fidel Castro’s speech, also in 1960, lasted four and a half hours, emphasizing his endurance and dominance in the Western space. In 2006, Hugo Chávez started his speech by referencing George W. Bush, saying “The devil came here yesterday. And it smells of sulfur still today.” These moments have not endured due to policy, but rather theatrics, emphasizing national character, defiance, and identity, emphasizing drama, because the U.N. thrives upon visibility.

The U.N. chamber is never neutral, even the escalator is political, and media amplification turns minor glitches into worldwide events. “The Daily Show” on Comedy Central aired a four-minute segment dedicated to the technical ailments of Trump’s speech, and Trump was both ruthlessly mocked and defended online. His production at the U.N. left him to the whim of the circumstances of the building, crowd and audience: critic, deputy and all. Performing as the victim of a faulty building, all the way down to the lack of marble floors, it is not whether leaders think they’re performing, but rather what play they think they are in. In the grand theater of the United Nations, the set is never still — and sometimes, it even breaks character.

Ethan Kaufman is a junior at Rollins College studying international relations.

https://www.orlandosentinel.com/2025/10/28/commentary-at-the-united-nations-politics-is-theater/