Patti LuPone controversy, explained: The comments, the backlash, the apology and what's next
The controversy stems from a sound bleed issue between LuPone's production of The Roommate with Mia Farrow and the neighboring theater hosting the Alicia Keys musical Hell's Kitchen. According to LuPone, noise from Hell's Kitchen could be heard from her show. On her stage manager's advice, she reached out to Robert Wankel, head of the Shubert Organization, to resolve the issue. The problem was quickly addressed, and LuPone sent flowers to the Hell's Kitchen crew as a goodwill gesture.
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However, that gesture did not land as intended.
Lewis took to Instagram at the time to criticize LuPone's actions. In a video post, she described LuPone's approach as 'bullying,' 'racially microaggressive,' and 'rooted in privilege,' pointing out that LuPone had essentially labeled 'a Black show loud.'
When asked about Lewis's remarks during the New Yorker interview, LuPone fired back with unfiltered disdain.
'Oh, my God. Here's the problem. She calls herself a veteran? Let's find out how many Broadway shows Kecia Lewis has done, because she doesn't know what the f* she's talking about.' After a quick online search, LuPone said, 'She's done seven. I've done thirty-one. Don't call yourself a vet, bitch.' (Note: The New Yorker clarified that Lewis has ten Broadway credits, while LuPone has twenty-eight.)
The exchange escalated when the interviewer noted that Broadway icon McDonald had reacted to Lewis's video with supportive emojis. LuPone didn't hold back: 'Exactly,' she said. 'And I thought, You should know better. That's typical of Audra. She's not a friend.' While she hinted at a past falling out with McDonald, she declined to elaborate. When asked by The New Yorker's By Michael Schulman her opinion of McDonald's recent performance in Gypsy, LuPone paused for fifteen seconds before turning to the window and simply saying, 'What a beautiful day.'Four days after the interview was published, the Broadway community responded with a powerful open letter, signed by more than 500 theater professionals.
'Recently, Patti LuPone made deeply inappropriate and unacceptable public comments about two of Broadway's most respected and beloved artists: Kecia Lewis and Audra McDonald. In a published interview with The New Yorker, she referred to Kecia Lewis—a Black woman and a 40-year veteran of the American stage—as a 'b***.' This language is not only degrading and misogynistic—it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment…'
The letter went on to call for accountability, not just from LuPone, but from the institutions that support artists in the theater community. It demanded that:
Public figures who engage in harassment or use racially or gendered harmful language should not be welcomed at high-profile industry events, including the Tony Awards.
Participation in such events should be contingent on accountability measures, including restorative justice and anti-bias training.
Institutions must adopt clear policies for addressing harmful behavior, regardless of an individual's stature.LuPone responded swiftly. The day after the open letter went public, she issued an apology on social media — a notable moment for a performer known for standing by her words.
'For as long as I have worked in theatre, I have spoken my mind and never apologized. That is changing today," her note began. "I am deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful. I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others and has run counter to what we hold dear in this community. I hope to have the chance to speak to Audra and Kecia personally to offer my sincere apologies.'
She went on to express her support for the open letter:
'I wholeheartedly agree with everything that was written in the open letter shared yesterday. From middle school drama clubs to professional stages, theatre has always been about lifting each other up and welcoming those who feel they don't belong anywhere else. I made a mistake, I take full responsibility for it, and I am committed to making this right. Our entire theatre community deserves better.'
While LuPone's apology has been acknowledged by some, others question whether it goes far enough — or whether the industry will take concrete steps toward fostering a more inclusive and accountable environment. For now, the controversy remains a flashpoint — not just about one actor's remarks, but about long-standing issues of privilege, race, and respect on Broadway's most prominent stages.
All eyes now turn to the Tony Awards this Sunday, a night that honors Broadway's finest but also serves as a reflection of the industry's values. LuPone is not nominated this year, but her presence — or absence — will be closely scrutinized. The open letter explicitly called for individuals who engage in racially harmful behavior to be excluded from high-profile events like the Tonys. Whether LuPone attends — and if the industry responds at the event — could send a strong signal about how seriously these demands are being taken.
Beyond the theater world, LuPone has a high-profile role in the Disney+ series Agatha All Along, where she portrays Lilia Calderu, a centuries-old witch and member of Agatha Harkness's coven. The show is a possible Emmy's contender. However, the controversy may complicate LuPone's awards trajectory if backlash continues, it could overshadow her work.
That being said, the "Evita" star remains a formidable performer with a loyal fan base. Only time will tell how she navigates her return in the wake of this controversy.
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