You wouldn't know that from the mildly bemused reaction of the current interim director, Jan Mrzena, or from the continued dawdling of the government, which can't even decide on a working Cabinet, much less a permanent culture minister. And, in the larger scope of governmental affairs, perhaps the complaints of disgruntled actors, singers and dancers — who, under the best of circumstances, are never completely satisfied — shouldn't weigh too heavily. But there are other considerations involved.

The first is the ham-fisted way Dvořák was shown the door, with vague allegations of financial mismanagement and the worst possible timing — at the start of a new performing arts season. Opera houses in particular are noted for their volatility, with performers storming off stage and directors quitting over artistic differences with management. But anyone who truly cared about the artistic product at the nation's cultural cornerstone would never jeopardize it with such a clumsy putsch, particularly without a follow-up plan in place.

It would be naive to suggest that such decisions be made sans politics. Every major decision in the Czech Republic has a political subtext, and Dvořák's initial appointment to the National Theater came, at least in part, due to political connections. But everyone knew what the theater was getting: a free-spending set designer and theater manager who loved the spotlight as much as his performers and never made any secret about his ambitions and operations.

While his political overseers may have been unhappy with the bottom line, there's no question that Dvořák brought some fresh air to a staid institution. He turned loose the Forman brothers, who brought a live horse onstage (in Beauty and the Beast); wasn't afraid to mount productions by contemporary composers like John Adams; and arguably created a cultural milestone with his spring 2005 co-production of Wagner's entire Ring cycle with Deutsche Oper am Rhein.

But artistic affairs seem the least of the government's concerns these days, which is misguided at best. After the obvious tourist draws, like Old Town and Prague Castle, there is no single entity that better represents the face of the Czech Republic than the National Theater. Inasmuch as the 2006-07 season was already in place when Dvořák was dumped, the effects on the product onstage have yet to be felt. But, without some dramatic turn of events, it seems likely that visitors to Prague will soon be angrily asking why the performances that they have come to see have been canceled.