Tony-award winning actress Kecia Lewis has called out Broadway staple Patti LuPone for remarks she found ‘offensive,’ also asking for an apology.
Lewis, 59, aired her grievances with the 75-year-old actress and singer in an open letter in extended clip she posted to Instagram Saturday.
Lewis said remarks LuPone made struck her as ‘racially microaggressive,’ ‘rooted in privilege’ and ‘bullying,’ adding that LuPone should take a different tack to ‘promote a culture of respect, empathy and inclusion.’
Lewis said that she was only speaking for herself in public calling out LuPone over the perceived slights.
‘I am speaking for Keisha Lewis only,’ said Lewis, who won the Tony Award for Best Performance by an Actress in a Featured Role in a Musical for Hell’s Kitchen earlier this year. ‘Not from the cast or crew or producers of Hell’s Kitchen.
Tony-award winning actress Kecia Lewis, 59, has called out Broadway staple Patti LuPone, 75, for remarks she found ‘offensive,’ also asking for an apology
LuPone contacted officials with the Shubert theatre on Broadway (where the show is performed), Lewis said, as she is currently performing in The Roommate at the Booth Theatre, a neighboring venue.
Lewis said Lupone complained to Shubert officials to tweak various sound cues in Hell’s Kitchen she found ‘to be too loud.’
LuPone ‘sent flowers to our sound and stage management team thanking them’ after the adjustments were made to her liking, according to Lewis.
Lewis also cited a clip of LuPone refusing to sign a Playbill for Hell’s Kitchen, saying, ‘They’re too loud.’
Lewis said: ‘I wanted to address this because, Ms. LuPone, these actions, in my opinion, are bullying – they’re offensive, they’re racially microaggressive, they’re rude, they’re rooted in privilege and these actions also lack a sense of community and leadership for someone as yourself 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, biases or negative assumptions about someone based on their race.
Lewis said that while microaggressions ‘can seem harmless or minor,’ they ‘can accumulate and cause significant stress or discomfort for the recipient – examples include calling a Black show loud in a way that dismisses it.’
Lewis said that the specific words LuPone used in her summation of the musical spoke volumes: ‘In our industry, language holds power and shapes perception, often in ways that we may not immediately realize.
Lewis said she was only speaking for herself in public calling out LuPone over her concerns
Lewis won the Tony Award for Best Performance by an Actress in a Featured Role in a Musical for Hell’s Kitchen earlier this year. Pictured June 16 in NYC
‘Referring to a predominantly Black Broadway show as loud can unintentionally reinforce harmful stereotypes, and it also feels dismissive of the artistry and the voices that are being celebrated on stage.
Lewis said that comments like LuPone’s ‘can be seen as racial microaggressions, which have a real impact on both artists and audiences.
‘While gestures like sending thank you flowers may appear courteous, it was dismissive and out of touch, especially following a formal complaint that you made that resulted in the changes that impacted our entire production, primarily the people who have to go out on stage and perform.’
Lewis said LuPone should have approached the Hell’s Kitchen production with more of a collaborative approach, as ‘direct communication’ would demonstrate ‘respect for the work being done, and awareness of how actions resonate across diverse teams.’
Lewis said that in the absence of a collaborative approach, LuPone’s conduct amid the situation could be viewed as bullying.
‘Bullying in a professional setting can include exerting influence to disrupt using one’s status or connections to cause unnecessary changes to someone else’s work environment, such as requesting sound adjustments,’ Lewis said. ‘Performative gestures are also bullying, and what I mean by that is by sending thank you flowers after impacting the production can be perceived as disingenuous, particularly if it sidesteps meaningful dialog or resolution.’
Lewis said that she was not exempt to taking further steps as an established Broadway performer to lessen the toxicity.
‘I’d like to offer a couple of thoughtful questions for veterans such as yourself and including myself,’ Lewis said. ‘How can I ensure that my feedback or my concerns are communicated in a way that is constructive and also, most importantly, respectful? How can I use my platform and experience to support diverse show teams promoting the idea that every production brings unique value to Broadway?’
Lewis said the discussion could be something that would help ‘veterans such as’ both of them, as well as 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 September in NYC at The Roomate’s opening
Lewis said the discussion could be something that would help ‘veterans such as’ both of them, as well as reflect their influence within the Broadway community in a positive way and promote a culture of respect, empathy and inclusion.’
Lewis said that she, LuPone and others in the Broadway community ‘are not just neighbors’ but rather ‘a community that shares in each other’s artistry and challenges.
‘Respect and collaboration are what keep us thriving and inspire the next generation.’
Lewis wrapped up in saying, ‘Ms. LuPone I respectfully submit to you that you owe us an apology, not flowers.’
Reactions were mixed to Lewis’ posts, as she received supportive responses from Broadway peers such as Audra McDonald, who posted emojis of clapping hands and hearts.
Mykal Kilgore said, ‘This isn’t a read. This isn’t shade. This isn’t mean. This is how community CAN work, learn and grow. We love everybody. Right is just right.’
Frenchie Davis said that the sound crew’s ‘silence, coddling, and compliance’ toward LuPone’s request made them ‘just as culpable.’
Broadway wardrobe supervisor Kelly Saxon said that Lewis came off as ‘condescending’ and that the respective volumes of the shows was the issue at heart.
Reactions were mixed to Lewis’ posts, as she received supportive responses from Broadway peers 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 ought to come see The Roommate,’ Saxon said. ‘It is a quiet 2 person play. The music from the theater next door has music so loud, that it disrupts our show. This has nothing to do with race. It has to do with volume!!’
She said in LuPone’s defense, ‘As for signing a Hell’s Kitchen Playbill. Why would she? She’s not in it. Are you signing The Roommate playbills? Why would you? You’re not in it!’
Performer Bill Leach said that no one was out of line in their actions in the situation.
‘Ms LuPone respectfully made a request regarding two sound cues,’ Leach said. ‘The production made the changes and she thanked them for it. Not everything is a microaggression.
‘How did these changes have a deleterious effect on your show?’
