Patti LuPone Accused of ‘Bullying’ Audra McDonald and Kecia Lewis in Broadway Open Letter

In recent news resonating deeply within the Broadway community, a significant open letter has surfaced, condemning acclaimed actress Patti LuPone for her derogatory comments towards fellow performers Audra McDonald and Kecia Lewis. The letter has garnered attention due to the sheer number of signatures it has attracted—over 500 artists have voiced their disapproval, calling for accountability in an industry that prides itself on collaboration and respect.

The controversy began when LuPone, in an interview with The New Yorker, made statements perceived as disparaging towards McDonald and Lewis, two highly regarded figures in the theater world. Both women, celebrated for their immense talent, have made significant contributions to Broadway, yet LuPone’s remarks have sparked outrage, with critics labeling her behavior as bullying and microaggressive.

The open letter, which has been signed by noted figures such as Wendell Pierce, Courtney Love, and James Monroe Iglehart, explicitly addresses the harmful nature of LuPone’s comments. It characterizes her remarks as “deeply inappropriate” and emphasizes that they perpetuate a culture of disrespect that many artists continue to endure without consequence. The collective sentiment from the signees is clear: such behavior cannot be overlooked in an industry striving for equity and mutual respect.

Notably, the letter explicitly calls out the public nature of LuPone’s comments, declaring that her attacks reflect not only poor judgment but also a broader issue of microaggressions within the community. “This language is not only degrading and misogynistic – it is a blatant act of racialized disrespect,” the letter reads. This highlights the intersectionality of gender and race in the critique of LuPone’s actions, emphasizing that her influence should not overshadow the integrity and contributions of her peers.

LuPone has been known for her vibrant and uncompromising personality, yet the recent backlash raises questions about the limits of artistic expression and the responsibility that comes with public discourse. While performing in The Roommate at the Booth Theatre, she described the sounds from the neighboring production of Hell’s Kitchen as “too loud.” Kecia Lewis, who stars in that very musical, responded to LuPone’s remarks, labeling them as “racially microaggressive” and indicative of a privileged perspective.

In the New Yorker interview, when discussing Lewis, LuPone’s words further fueled the controversy. She dismissed Lewis’s status as a veteran, stating, “Let’s find out how many Broadway shows Kecia Lewis has done, because she doesn’t know what the f— she’s talking about.” This kind of defensiveness, rather than fostering dialogue, has only widened the gap between LuPone and her contemporaries.

Meanwhile, Audra McDonald, who has often been regarded as a beacon of light in the Broadway community, seemingly supported Lewis’s stand against LuPone’s comments through social media, further complicating the relationships involved. When asked about McDonald, LuPone responded with dismissive remarks, stating that she was “not a friend” of McDonald. The public’s reaction to this unraveling friendship highlights the personal strife intermingled with professional rivalries, raising the question of how such tensions can impact artistic collaboration.

The letter also serves as a call to action for the Broadway League and the American Theatre Wing, urging that LuPone, along with anyone who disparage fellow artists, be disinvited from prestigious events like the Tony Awards. This plea stresses a critical point: that a culture of accountability is essential in the pursuit of an equitable artistic community.

"Our mission is not to shame," the letter clarifies, "but to speak with honesty, clarity, and care." It goes on to acknowledge the legacy of Audra McDonald, confirming that to attack her is not merely a personal offense, but a public affront to the values the theater community claims to uphold. This encapsulates a moment of reflection for Broadway, inviting the community to reconsider the dynamics of support, respect, and collaboration among artists.

In a forthcoming interview with Gayle King on CBS Sunday Morning, McDonald expressed her confusion regarding the apparent rift with LuPone, emphasizing her wish for clarity. “If there’s a rift between us, I don’t know what it is,” she stated, pointing out the almost decade-long absence of communication between herself and LuPone.

This incident serves as a critical reminder of the need for accountability in artistic spaces. The letters and reactions surrounding this controversy highlight an unsettling yet necessary conversation on how artists should relate to one another, a conversation that is vital for the growth and healing of the theater community.

As Broadway continues to navigate its identity, the hope remains that dialogues like this can foster understanding and growth. This moment may very well become a turning point, encouraging artists to build a community rooted in respect rather than rivalry. Moving forward, the emphasis must shift toward collaboration, equity, and most importantly, kindness, ensuring that the stage remains a place of inspiration and support—a true reflection of the diverse talent it showcases.

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