Patti LuPone’s Feud Escalates: Is She Crossing the Line with Her Rivals?

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Patti LuPone is encountering a flood of criticism from members of the Broadway community and enthusiasts, following her public criticisms of several well-known figures in the industry.

As an ardent admirer, I can’t help but share my feelings about a heartbreaking turn of events involving two of Broadway’s greatest legends – Patti LuPone and Audra McDonald. In an interview with The New Yorker, published on Monday, LuPone, 76, revealed that McDonald is no longer a friend of hers, a state of affairs that has persisted for quite some time now.

As a die-hard fan, I couldn’t help but delve into the intriguing subject that surfaced when LuPone was queried about McDonald taking on the role in Gypsy, a musical that’s deeply tied to my heart.

In my fervor, when I dared to inquire about her thoughts on McDonald’s staging of Gypsy, I found myself locked in a moment of profound quietude with the legendary Patti LuPone, as she contemplated my question for a full fifteen seconds.

‘Then she turned to the window and sighed, “What a beautiful day.”‘ 

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Six months later, LuPone additionally raised doubts about Kecia Lewis’s professional background, following the Tony-winning actress’s accusation of offensive comments. She also requested an apology from Lewis.

In a post on Instagram last fall, Lewis publicly criticized LuPone’s comments that he found offensive, and asked for an apology in an open letter.

As a lifestyle expert, I might rephrase it as follows: “Upon reading those remarks, I found myself quite astonished. It seems this individual claims to be a theatrical veteran. Yet, let us take a moment to examine Kecia Lewis’s Broadway resume, for it appears there may be some misunderstanding on her part regarding her own experience.

LuPone remarked, “She’s completed seven. I’ve finished thirty-one. So don’t claim to be an expert, dear.” (It was mentioned that Lewis has done ten and LuPone twenty-eight.)

In response to LuPone’s recent statements, Chris Peterson of the On Stage Blog wrote a piece titled ‘Patti, We Understand. You’re a Star. However, This Isn’t About Being a Diva.’

Patti LuPone has established her reputation as Broadway’s frank, truthful, and firm against phone use in the front row diva, according to Peterson. And indeed, there is room for straightforwardness. There’s also space for some theatricality off-stage.

However, by the year 2025, there existed a clear boundary. In her latest New Yorker feature that would have any public relations professional shaking their head in disbelief, Patti not only stepped over that boundary. She did more than just cross it; she joyfully tramped upon it with gusto.

According to Peterson, LuPone referred to Lewis as a “disrespectful woman,” implying that she lacked understanding or knowledge.

Dailymail.com has reached out to reps for McDonald, Lewis and LuPone for further comment.  

Emmy-nominated Douglas Lyons responded critically to LuPone’s comments by tweeting, “To Patti LuPone, 31 shows on Broadway doesn’t automatically make one classy. #Broadway.

In a lengthy comment, Lyons expressed that it takes audacity for someone white to be casually dismissed in a prominent publication, disparaging our Black Broadway Queens – all while using a term that one would never dream of uttering directly to them.

‘I think Ms. Lupone is a remarkable talent, but 31 Broadway shows obviously doesn’t equal class.’

The responses toward X were split among individuals who were genuinely impressed by LuPone’s honesty, and those who found her continual harshness rather bothersome.

Writer Tom Smyth proposed he’d respond “it was a lovely day” instead of asking about the quality of a show.

A supporter of Broadway endorsed LuPone’s strong opinions by labeling her as ‘the world’s top professional critic,’ further stating, ‘which is exactly why she stands out as our most exceptional thespian in theater.’

Previously, Lewis pointed out that comments made by LuPone seemed to be subtly discriminatory, stemming from privilege, and exhibiting bullying behavior. She suggested LuPone adopt a more constructive approach to foster an environment characterized by respect, empathy, and inclusivity instead.

Lewis clarified that her criticisms towards LuPone, which she voiced publicly, were solely based on her personal perspective.

Speaking solely on behalf of Keisha Lewis, I should clarify that her perspective is different from that of the cast, crew, or producers of Hell’s Kitchen, where she recently received a Tony Award for Best Performance by an Actress in a Featured Role in a Musical earlier this year.

I, being an ardent admirer and follower of Patti LuPone’s extraordinary talent, reached out to the authorities at the iconic Shubert Theatre on the Broadway stage. This is because, while she’s captivating audiences night after night in The Roommate at the Booth Theatre, a theater right next door.

Lewis mentioned that Lupone voiced her concern about certain sound effects in Hell’s Kitchen being too intense to the Shubert authorities.

After making the necessary changes to her satisfaction, LuPone expressed gratitude by sending flowers to her sound and stage management team, as reported by Lewis.

Additionally, Lewis shared a clip where LuPone declined signing a Playbill from Hell’s Kitchen, remarking, “They’re too noisy.

Lewis stated that he felt it necessary to discuss the issue at hand because, in his view, Ms. LuPone, your actions can be considered bullying; they’re disrespectful, racially insensitive, impolite, stemming from privilege, and they seem devoid of a sense of community and leadership. Given your extensive experience in the industry, this is particularly surprising.

Lewis describes microaggressions as subtle, often unconscious remarks or behaviors that subtly express prejudices, stereotypes, or unfavorable presumptions about a person due to their racial background.

Lewis points out that although microaggressions might appear innocuous or trivial, they can build up over time and produce substantial stress or unease for the person receiving them. For instance, referring to a Black-produced show as ‘loud’ in a manner that diminishes its value is an example of a microaggression.

Lewis pointed out that the particular phrases LuPone employed while concluding the musical conveyed a great deal: “Language wields influence in our profession, molding perspectives, frequently in manners we don’t consciously notice at first.

Mentioning a mainly Black Broadway production as “loud” could inadvertently bolster detrimental stereotypes, and it might seem disregarding towards the artistic talents and the unique voices that are being showcased on stage. A more appropriate description could be expressive, vibrant, or energetic to highlight the enthusiasm and creativity of the performance.

Lewis pointed out that remarks similar to LuPone’s might be interpreted as subtle racial bias, and these microaggressions can indeed influence both performers and spectators significantly.

Though actions such as delivering thank-you bouquets might seem polite at first glance, they came off as insensitive and disconnected, particularly after your formal complaint led to significant modifications across the entire production process. This change primarily affected those team members who are responsible for performing on stage.

Lewis suggested that LuPone might benefit from adopting a more collaborative attitude in the Hell’s Kitchen production. This approach would signify respect for the work being produced and an understanding of how one’s actions can impact various team members, as demonstrated by direct communication.

In Lewis’ words, when there’s no cooperative spirit, LuPone’s behavior during such circumstances might come across as intimidating or even bullying. I can’t help but feel deeply concerned about this, being an ardent fan of both these talented artists.

In a workplace, bullying might manifest as misusing one’s position or networks to instigate unwarranted alterations in another person’s work environment. For instance, demanding noise modifications, as Lewis pointed out.

She noted: ‘Actions like sending thank-you flowers following an adverse effect on the production process might be considered a form of bullying. To clarify, I’m referring to situations where such gestures can seem insincere, especially when they divert from constructive dialogue or resolution.’

Lewis stated that they, LuPone and fellow members of the Broadway community are more than mere neighbors; instead, they form a community that collectively experiences each other’s artistic endeavors and trials.

‘Respect and collaboration are what keep us thriving and inspire the next generation.’

Lewis politely put forward his opinion by stating, “Ms. LuPone, I believe a sincere apology from you is more appropriate than flowers.

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2025-05-27 18:22