More than five hundred performers, writers, and behind-the-scenes professionals from Broadway and beyond have signed an open letter condemning legendary stage actress Patti LuPone for a series of disparaging remarks about fellow performers Audra McDonald and Kecia Lewis. The letter, published on May 31, 2025, demands that LuPone be disinvited from the upcoming Tony Awards and calls for immediate action from industry organizations such as the American Theatre Wing and the Broadway League. Below is an in-depth look at how these events unfolded, the context of LuPone’s original comments, the responses from affected artists, and the broader implications for respect and accountability in the theatre community.
Background: The Original Feud
The spark for this controversy dates back to November 2024, when Patti LuPone was starring in Theresa Rebeck’s dark comedy The Roommate at the Booth Theatre. Just a few steps away at the Vivian Beaumont Theater, Kecia Lewis was performing in the Broadway-bound Alicia Keys musical Hell’s Kitchen. According to Lewis, the volume level of Hell’s Kitchen’s sound design—which featured a live band and a high-decibel, R&B-inflected score—interfered with her ability to concentrate on her own performance when rehearsals began in the morning. In a conversation subsequently published in The New Yorker, LuPone was quoted as saying that Hell’s Kitchen was “too loud.”
Lewis took to social media almost immediately, posting a six-minute video on Instagram and TikTok in which she described LuPone’s comments as “offensive,” “racially microaggressive,” and “rude.” She explained that labelling a predominantly Black musical as “loud” had racialized undertones—perpetuating stereotypes about Black performers and genre conventions—and requested a public apology. Audra McDonald, who happens to be Lewis’s friend and is widely regarded as the preeminent African American leading lady on Broadway, expressed her support by reacting with a string of heart and clap emojis under Lewis’s Instagram video. Although McDonald’s original comments on Lewis’s post were later removed, those who watched along knew McDonald was in Lewis’s corner from the start.
Lewis’s Perspective: Claims of Racial Microaggression
In her six-minute video, Lewis stated that LuPone’s description of Hell’s Kitchen as “too loud” was not merely a subjective critique but carried a subtle, racially tinged message. She argued that calling a Black-led show “loud” invited comparisons to negative stereotypes—suggesting that Black music and performance inherently lack the refinement or subtlety associated with mainstream (i.e., predominantly white) theatre. Lewis went on to explain that microaggressions, though often framed as small or unintentional, accumulate over time and can contribute to a hostile work environment, particularly for performers of color who have historically been marginalized on the Great White Way.
Lewis’s video quickly went viral within theatre circles and mainstream entertainment media, prompting discussion about the intersection of race, class, and generational divides within the Broadway community. Many recognized that louder scores—R&B, gospel, hip-hop—have long struggled for full acceptance on Broadway, where more subtle, quieter, or “elegant” musical styles have traditionally been valorized. The uproar was not simply about sound levels; it was about who gets to define what counts as “acceptable” theatre and which artistic traditions are labeled “too much.”
McDonald’s Support and Industry Backlash
Audra McDonald’s public reaction—a flood of emojis signaling solidarity—served as a visible endorsement of Lewis’s position. At six-time Tony Awards winner McDonald’s stature, any alignment she expressed carried considerable clout. By actively engaging with Lewis’s social media post, McDonald demonstrated that she viewed LuPone’s remarks as emblematic of larger issues within the theatre world.
Among those who joined McDonald in condemning LuPone’s “too loud” comment were producers and directors who had worked with LuPone for decades—people who nonetheless recognized that McDonald’s support for Lewis was grounded in legitimate concerns about microaggression in a historically exclusionary industry. While some veteran artists cautioned against “airing grievances in public,” the momentum behind Lewis’s cause quickly gained traction, setting the stage for an even larger confrontation once LuPone’s own words resurfaced in May 2025.
Resurfacing Tensions: LuPone’s New Yorker Profile
The feud took a dramatic turn when The New Yorker ran a profile of Patti LuPone on May 15, 2025. In a long-form interview conducted by Alexandra Jacobs, LuPone revisited her earlier remarks about Hell’s Kitchen and directly addressed Kecia Lewis and Audra McDonald. In doing so, she used language that many considered demeaning, misogynistic, and laced with profanity.
“‘She calls herself a veteran?’” LuPone said of Lewis. “Let’s find out how many Broadway shows Kecia Lewis has done, because she doesn’t know what the fuck she’s talking about. Don’t call yourself a vet, bitch.” LuPone then turned her attention to McDonald, quipping that McDonald was “not a friend of mine,” and refusing to comment on McDonald’s current role in Gypsy. This role had significant overlap with LuPone’s own past performances: LuPone won a Tony Award for Best Actress in a Musical in 2008 for her portrayal of Mama Rose in the same revival of Gypsy.
LuPone’s remarks ignited a firestorm across social media, with theatre journalists, bloggers, and ordinary theatre fans alike replaying her on-record insults. Even some of her staunchest admirers—who had previously lauded her as “Broadway royalty” and “the ultimate diva with a heart of gold”—expressed shock and disappointment. Within a week, what had started as a critique of sound levels had ballooned into accusations of bullying, harassment, and racialized disrespect.
Broadway Community Reaction: From Shock to Solidarity
As stories emerged detailing LuPone’s interview remarks, many industry professionals felt compelled to take a stand. Rumors circulated that some producers were reconsidering stage alliances and revivals if LuPone remained attached. Casting directors reportedly pulled projects that relied on LuPone’s marquee name until clarity emerged about her willingness to apologize.
On May 31, 2025, Playbill published an open letter addressed to Patti LuPone, the American Theatre Wing, the Broadway League, and the broader theatre community. The letter began by recalling the long history of backstage hijinks and occasional diva behavior on Broadway—after all, certain level of theatrical grandstanding is built into the culture. But it quickly noted that LuPone’s language crossed a line:
“This language is not only degrading and misogynistic—it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment. It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence.”
Over five hundred signatories included names such as Wendell Pierce (The Piano Lesson), James Monroe Iglehart (Aladdin), Megan Hilty (Wicked), Audra McDonald (Porgy and Bess), and even rock musician Courtney Love, whose recent Broadway debut in The Real Housewife’s ‘On the Razzle’ had won her an enthusiastic following among theatre fans. In total, the letter represented performers across genres—musicians turned stage actors, off-Broadway comedians, chorus members, ensemble dancers, understudies, stage managers, lighting designers, and wardrobe supervisors.
Key Demands: Disinvitation from the Tonys and Industry Accountability
The open letter called for two specific actions:
- Disinvitation of Patti LuPone from the 78th Annual Tony Awards, scheduled for June 15, 2025, at Radio City Music Hall. The letter argued that awarding or featuring LuPone would send the wrong message about Broadway’s values, effectively rewarding harassment.
- Immediate Action by the American Theatre Wing and Broadway League to establish clear guidelines and consequences for industry figures who publicly demean or harass others. The authors insisted that high-profile individuals like LuPone—regardless of past contributions—should be held accountable for “using their platform to publicly demean.”
The letter emphasized:
“We write not to shame or isolate, but to speak with honesty, clarity, and care. This is a call for accountability, justice, and respect. We believe our community can do better. We believe it must do better.”
Reactions to the Letter: Support and Criticism
Within hours of publication, the open letter went viral across social media platforms and theatre news websites. Tweets tagged with “#DisinviteLuPone” and “#BroadwayAccountability” trended on Twitter, while Instagram Stories highlighted signatories making statements on camera. Notably, the letter’s authors were quick to point out that dissent and debate remain core values of artistic expression; it was specifically LuPone’s demeaning, profanity-laced attack on a fellow Black actress—and her refusal to apologize—that mobilized hundreds of artists to publicly demand consequences.
Supportive Reactions:
- Former Colleagues: Rachel Bay Jones, who won a Tony for Dear Evan Hansen, tweeted: “I’ve had disagreements with Patti, but this latest crosses the line. Broadway must stand against public bullying.”
- Producers: Jeffrey Richards, a multi–Tony-winning producer, issued a statement supporting the letter’s call for “a respectful discourse among artists, period.”
- Union Leadership: Actors’ Equity Association released a memo stating: “Our colleagues deserve professional courtesy and a harassment-free workspace, including the stage and its periphery.”
Critical Voices:
- Defenders of Artistic Candor: A small cadre of veteran critics and bloggers maintained that while LuPone’s language was harsh, open artistic debate—especially among performers who are known for tough feedback—should not be curtailed. “Patti’s never been a Pollyanna,” wrote one columnist in The Daily Ledger. “If you can’t handle the heat, don’t work in showbiz.”
- Free Speech Advocates: Some argued that disinvitation from the Tonys runs the risk of “top-down censorship,” citing concerns that awarding bodies might overstep by policing offstage remarks. However, those voices were far outnumbered by artists praising the open letter as a necessary stance.
Industry Organizations Respond: Silence, Then Statements
In the days following the letter, both the American Theatre Wing and the Broadway League released brief statements acknowledging receipt of the signatory concerns. Neither organization immediately confirmed whether LuPone would be formally disinvited from the Tonys, nor did they outline specific disciplinary measures.
- American Theatre Wing (ATW): “The American Theatre Wing values respect, equity, and professionalism. We are reviewing the concerns raised by members of the theater community regarding Ms. LuPone’s recent remarks and will announce any decisions in due course.”
- Broadway League: “The Broadway League upholds standards of conduct that foster an inclusive environment for all theater practitioners. We appreciate the community’s feedback and are discussing next steps internally.”
The cautious tone from both organizations suggested that logistical concerns—contractual obligations, broadcast promotional commitments, sponsorship deals—might complicate a swift disinvitation. Nonetheless, prominent Theatre Wing board members hinted privately that a high-profile apology from LuPone could “mitigate reputational harm.” As of this writing (June 1, 2025), no formal apology has been issued by LuPone, and her representatives have declined multiple requests for comment.
Patti LuPone’s Unapologetic Persona
For decades, Patti LuPone—two-time Tony Award winner, Olivier Award winner, and induction into the American Theater Hall of Fame—has cultivated a public image as a forthright, uncompromising diva. Her résumé spans iconic roles: Eva Perón in Evita, Norma Desmond in Sunset Boulevard, Mother Miriam in The Iron Mask of Abbans, and more. She has also earned acclaim for her cabaret concerts and her Emmy-nominated performance in FX’s “American Horror Story.” Her fans admire her uncompromising devotion to excellence and her willingness to speak bluntly.
However, LuPone’s tendency to publicly spar with peers has made her a lightning rod. In 2018, she criticized Madonna for using a phone during a backstage show run-through; she previously feuded with Andrew Lloyd Webber over casting decisions in the 1990s. Her 2025 New Yorker profile remarks, including her refusal to “coddle” McDonald, reflect a pattern of polemics that often overshadow her artistry. In interviews, LuPone has defended herself as an “actor’s actor” who refuses to kowtow to “political correctness” at the expense of honesty.
As a result, many fans are torn—torn between admiration for her unprecedented stage presence and frustration over her high-handed offstage antics. Some longtime admirers, such as critics in the Variety and The Hollywood Reporter, are now publicly questioning whether her unforgiving style has become reputationally toxic.
The Open Letter: Text and Signatories
The open letter’s core paragraphs read as follows (abridged for length):
We, the undersigned members of the theater community, express our deep concern and disappointment over Ms. Patti LuPone’s recent remarks published in The New Yorker, in which she attacked Ms. Kecia Lewis and Ms. Audra McDonald with profanity and dismissive language. This language is not only degrading and misogynistic—it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment. It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence.
We write not to shame or isolate, but to speak with honesty, clarity, and care. This is a call for accountability, justice, and respect. We believe our community can do better. We believe it must do better.
We request that Patti LuPone be disinvited from the 78th Tony Awards ceremony on June 15, 2025. We further ask that the American Theatre Wing and the Broadway League take immediate action to establish guidelines for public conduct and consequences for those who use their platform to demean, harass, or bully fellow artists.
While we acknowledge Ms. LuPone’s many accomplishments, no tenure or body of work qualifies her to demean her colleagues without redress.
This letter is signed by over 500 individuals across all sectors of the theatrical profession, including cast members, directors, choreographers, musicians, stage managers, union representatives, costume designers, lighting technicians, and playwrights. Among them: Wendell Pierce, James Monroe Iglehart, Audra McDonald, Jesse Tyler Ferguson, Megan Hilty, Tituss Burgess, Norm Lewis, Patricia Clarkson, Aaron Tveit, and many, many more.
Implications for Broadway Culture and Industry Standards
The Patti LuPone incident has sparked a broader conversation about what constitutes acceptable behavior in an art form that venerates strong personalities while demanding professionalism. In its early days, Broadway was infamous for diva meltdowns—Frank Sinatra berating his co-stars, Yul Brynner storming off set, Barbra Streisand refusing to acknowledge technicians. Over time, as unions formed and contracts standardized, producers and directors insisted on greater decorum backstage.
Yet, social media now amplifies every indiscretion. A single hot mic—audio captured by journalists or smartphones—can spread across the internet in minutes. Online discourse also amplifies the demands for accountability. In that sense, the current debate over LuPone’s remarks is as much about generational expectations as it is about race or gender. Younger performers, accustomed to zero-tolerance policies around bullying and harassment, expect formal apologies and institutional consequences. Veteran artists, raised in an era where blunt critiques were part of the job, are sometimes more forgiving—though not in LuPone’s case, given the overt racial undertones of her “loud” comment.
Moving forward, many within the industry believe that the American Theatre Wing and Broadway League must clarify ethical guidelines regarding public conduct. Proposed measures include:
- Social Media Guidelines for Tony Nominees and Presenters: Establishing standards for decorum when addressing colleagues online, with possible fines or suspensions from award participation for severe breaches.
- Conflict-Resolution Training: Providing workshops on microaggressions, bias awareness, and respectful communication for all Tony nominees, presenters, and broadcast performers.
- Anonymous Reporting Mechanism: Creating a safe channel for artists and crew members to report harassment—even from high-profile stars—with an independent committee tasked with evaluating complaints and recommending remedial steps.
Such policies would not only address the immediate fallout from the LuPone controversy but also preemptively demarcate boundaries for future disputes—ensuring that Broadway can foster a culture of mutual respect without sacrificing its celebrated spirit of creative passion.
Tony Awards Fallout and Pending Decisions
As of June 1, 2025, the Tony Awards telecast remains scheduled to feature Patti LuPone in a pre-taped performance of one of her signature numbers—an encore of “Don’t Cry for Me Argentina” from Evita—followed by an on-stage “honorary salute” acknowledging her storied career. However, behind the scenes, producers are scrambling to determine whether to replace her segment, edit it down, or request a formal apology before proceeding.
Executives at CBS, the network broadcasting the Tonys, are apprised of the controversy and concerned about viewer reactions—particularly among younger demographics that have little patience for public harassment. Several sponsors have privately asked whether Patti LuPone’s involvement might prompt boycotts or negative publicity. A source close to the Tony production confirmed that discussions about her disinvitation are ongoing, but no final call has been made.
One potential compromise under consideration is to allow LuPone to appear but require that she deliver an on-air apology—acknowledging the hurt her words inflicted, especially on Black women in theatre. Industry insiders note, however, that LuPone’s past statements suggest she is unlikely to apologize unless she feels compelled by contractual or reputational necessity.
Wider Conversations About Race, Gender, and Respect on Broadway
Beyond the immediate Tony Awards scandal, the uproar over LuPone’s comments has catalyzed a series of panel discussions across New York City theatre venues. At the 92Y on Lexington Avenue, a sold-out event on June 2, “Microaggressions and the American Stage,” convened Audra McDonald, Kecia Lewis, Jennifer Holliday, and several union representatives. Topics included:
- Defining Microaggressions in Theatre: How offhand remarks—described as “harmless banter” by some—can perpetuate systemic exclusion.
- Intersectionality of Race, Gender, and Class: The ways in which actors of color, particularly Black and Latina women, navigate stereotypes that cast their work as “loud,” “over-the-top,” or “less refined.”
- Prospects for Institutional Reform: Best practices for training artistic directors, casting directors, and production teams to identify and curtail discriminatory language and behavior.
At another event at Lincoln Center’s Vivian Beaumont Theatre, producers met with Equity representatives to discuss amending standard performer contracts to include clauses addressing public disparagement. Though the notion of including a “harassment/defamation” clause in a Broadway contract may sound radical, many argue that it is well within reach—particularly in an industry that now emphasizes brand protection and public image.
Will Broadway’s “Mamma Mia” Culture Finally Change?
Patti LuPone is hardly alone in wielding sharp words or exercising diva prerogative. Broadway lore is rife with larger-than-life personalities who threw tantrums—Elaine Stritch demanding quieter chorus members, Malcolm McDowell cursing out sound technicians, and Ian McKellen refusing to share the stage with a “less serious” co-star. Yet, as public platforms have grown and societal norms evolve, the tolerance threshold for such behavior shrinks.
Kecia Lewis, in her six-minute video, lamented that many microaggressions go unaddressed because “no one wants to look like they’re overreacting.” By forcing an industry-wide conversation, she—and the 500-plus signatories to the open letter—hope to shift the culture from one that condones selective “diva moments” to a culture where respect and dignity are baseline requirements.
This shift mirrors changes in other creative fields. In Hollywood, actors have been held accountable for on-set harassment (e.g., Louis C.K., Kevin Spacey). In publishing, authors who make racially insensitive remarks quickly face bookstore boycotts. Broadway—arguably slower to adapt—now finds itself at a crossroads: will it cling to the notion that “artistic expression” requires a certain level of caustic candor, or will it adopt stricter behavioral norms to reflect a diverse community of collaborators?
Patti LuPone’s Next Moves and Industry Watchers’ Predictions
As of this writing, there is no public indication that Patti LuPone plans to apologize. Instead, reports suggest she is quietly preparing a statement—possibly emphasizing her right to free speech and artistic critique—while simultaneously reminding the public of her decades-long service to the American theatre.
Some industry veterans believe that, despite the open letter, LuPone will remain a Tony presenter—either because the producers lack enough time to secure a replacement or because they assume audiences will prioritize tributes to the season’s nominees over a single performer’s misconduct. Others contend that if Broadway’s top producers want to signal a genuine commitment to equity, they will rescind LuPone’s invitation and showcase a rising star as her replacement, thereby demonstrating that Broadway belongs to the next generation as much as to its established icons.
Regardless of the immediate outcome, the Patti LuPone controversy has already changed the conversation. It has prompted previously unspoken grievances to surface: chorus members speaking out about Directors who belittled them for “not being sensitive enough,” dancers recounting Costumers who referred to their bodies as “too big,” and technicians recalling lighting supervisors who demeaned them for their regional accents. Suddenly, a wide array of theatre professionals see in the open letter a chance to address longstanding—but often minimized—complaints about hierarchy, bullying, and microaggressions.
Conclusion: Toward a Culture of Accountability and Respect
The uproar over Patti LuPone’s comments regarding Kecia Lewis and Audra McDonald is more than a celebrity feud; it is a reckoning for an industry that professes to celebrate creativity, diversity, and artistic excellence. By signing the open letter, more than five hundred Broadway professionals have signaled that disrespect—especially when tinged with racialized language—will no longer be tolerated.
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As theatres reopen and cast lists grow more diverse than ever before, Broadway must reconcile its storied history of stage flamboyance with evolving expectations of personal conduct. The question at hand is not simply whether Patti LuPone will perform at the next Tony Awards, but whether an industry that relies on collaboration and empathy can unite behind a shared standard of decency.
The coming weeks will reveal whether Broadway’s leading institutions—Tony producers, the American Theatre Wing, and the Broadway League—are willing to align their actions with their stated values of inclusion and respect. For now, the more than five hundred voices calling for accountability serve as a powerful reminder: the curtain may rise, the lights may brighten, but it is the collective responsibility of every artist, technician, producer, and board member to ensure that the spotlight never illuminates hate or harassment.
