Tony award-winning actress Kecia Lewis has called out Broadway favorite Patti LuPone for comments she found “offensive” and also asked for an apology.
Lewis, 59, expressed her grievances with the 75-year-old actress and singer in an open letter in an extended clip she posted to Instagram on Saturday.
Lewis said LuPone’s comments struck her as “racially micro-aggressive,” “rooted in privilege” and “bullying,” adding that LuPone should take a different approach to “build a culture of respect, empathy and inclusivity promote’.
Lewis said she only spoke for herself in public and called out LuPone for the perceived slights.
“I only speak for Keisha Lewis,” said Lewis, who earlier this year won the Tony Award for Best Performance by an Actress in a Leading Role in a Musical for Hell’s Kitchen. “Not from the cast or crew or producers of Hell’s Kitchen.
Tony award-winning actress Kecia Lewis, 59, has called out Broadway favorite Patti LuPone, 75, for comments she found ‘offensive’ and also asked for an apology
LuPone contacted officials at the Shubert Theater on Broadway (where the show is performed), Lewis said, as she is currently performing at The Roommate at the Booth Theater, a neighboring venue.
Lewis said Lupone complained to Shubert officials about adjusting several sound cues in Hell’s Kitchen that she found “too loud.”
LuPone “sent flowers to our sound and stage management team to thank them” after the adjustments were made to her liking, Lewis said.
Lewis also quoted a clip in which LuPone refused to sign a Playbill for Hell’s Kitchen, saying, “They’re too loud.”
Lewis said, “I wanted to address this because, Ms. LuPone, in my opinion, these actions are bullying – they are offensive, they are racially microaggressive, they are rude, they are rooted in privilege and these actions also lack a sense of community and leadership for someone like you who has been in the business as long as you have.”
Lewis said she defines microaggressions as “subtle, unintentional comments or actions that convey stereotypes, prejudices, or negative assumptions about someone based on their race.”
Lewis said that while microaggressions “may seem harmless or insignificant,” they “can build up and cause significant stress or discomfort to the recipient — examples of this include loudly shouting a black show in a way that dismisses it.” ‘
Lewis said the specific words LuPone used in her synopsis of the musical spoke volumes: “In our industry, language has power and shapes perception, often in ways we may not immediately realize.
Lewis said she only spoke publicly for herself and expressed her concerns to LuPone
Lewis won the Tony Award for Best Performance by an Actress in a Leading Role in a Musical earlier this year for Hell’s Kitchen. Pictured June 16 in NYC
“Referring so loudly to a show that runs primarily on Black Broadway can inadvertently reinforce harmful stereotypes, and it also feels dismissive of the artistry and voices celebrated on stage.
Lewis said comments like LuPone’s “can be viewed as racial microaggressions, which have a real impact on both performers and audiences.
“While gestures such as sending thank you flowers may seem courteous, it was dismissive and out of reach, especially after a formal complaint you made that resulted in the changes that affected our entire production, especially the people who have to go on stage and perform. ‘
Lewis said LuPone should have approached the production of Hell’s Kitchen with a more collaborative approach because “direct communication” would demonstrate “respect for the work being done, and an awareness of how actions resonate across different teams.”
Lewis said that in the absence of a concerted approach, LuPone’s behavior in this situation could be considered bullying.
“Bullying in a professional environment may include exerting influence to disrupt the use of one’s status or connections to cause unnecessary changes in another’s work environment, such as requesting appropriate accommodations,” Lewis said. “Performative gestures are also bullying, and what I mean by that is that sending thank you flowers after they have influenced production can be perceived as unfair, especially if it circumvents meaningful dialogue or resolution.”
Lewis said she was not exempt from taking further steps as an established Broadway performer to reduce the toxicity.
“I’d like to ask a few thoughtful questions to veterans like you and myself,” Lewis said. ‘How can I ensure that my feedback or concerns are communicated in a way that is constructive and, above all, respectful? How can I use my platform and experience to support diverse show teams that promote the idea that each production brings unique value to Broadway?”
Lewis said the discussion could be something that could help “veterans like” both, but also reflect their influence within the Broadway community in a positive way and promote a culture of respect, empathy and inclusion.
LuPone pictured with Mia Farrow in New York in September at the opening of The Roomate
Lewis said the discussion could be something that would “help veterans like both of them, but also reflect their influence within the Broadway community in a positive way and promote a culture of respect, empathy and inclusivity.”
Lewis said she, LuPone and others in the Broadway community are “not just neighbors,” but rather “a community that shares each other’s artistry and challenges.”
‘Respect and collaboration ensure that we continue to thrive and inspire the next generation.’
Lewis ended by saying, “Mrs. LuPone I respectfully say that you owe us an apology, not flowers.”
Reactions to Lewis’s posts were mixed, as she received supportive responses from Broadway colleagues such as Audra McDonald, who posted emojis of clapping hands and hearts.
Mykal Kilgore said, “This is not a lecture. This is not a shadow. This is not mean. This is how the community CAN work, learn and grow. We love everyone. Good is just right.’
Frenchie Davis said the sound crew’s “silence, coddling and compliance” toward LuPone’s request made them “just as guilty.”
Broadway wardrobe supervisor Kelly Saxon said Lewis came across as “condescending” and that the shows’ respective volumes were the crux of the matter.
Reactions to Lewis’s posts were mixed, as she received supportive responses from Broadway colleagues such as Audra McDonald, who posted emojis of clapping hands and hearts
Some people came to the defense of LuPone and The Roommate
“Maybe you should come see The Roommate,” Saxon said. ‘It’s a quiet play for 2 people. The music from the theater next door is so loud that it disrupts our show. This has nothing to do with race. It has to do with volume!!’
In LuPone’s defense, she said, “As for signing a Hell’s Kitchen Playbill. Why would she? She’s not in it. Do you sign The Roommate posters? Why would you? You’re not in on it!’
Artist Bill Leach said no one in the situation went too far with their actions.
“Ms. LuPone has respectfully submitted a request regarding two sound signals,” Leach said. “Production made the changes and she thanked them for it. Not everything is a microaggression.
“How have these changes had a detrimental effect on your show?”