Kecia Lewis requested an apology from Broadway icon Patti LuPone for saying the production Hell’s Kitchen was “too loud” — a remark the Tony-winning performer characterized as “bullying” and “racially microaggressive.”
In a five-minute-long video open letter, Lewis — who won a Tony this year for her performance in the jukebox musical based on Alicia Keys’ work and upbringing — noted that the request comes solely from her, not the cast, crew or producers of the show.
The actress, who will soon appear in Crutch, said LuPone contacted the theater owner about changing the show’s sound cues “because you found them to be too loud.” Lewis said that after the sound design was adjusted, LuPone sent flowers to the sound and stage management team as a thank you, showing a picture of the note and arrangement. In another instance, Lewis played a clip of LuPone not signing a fan’s Playbill of Hell’s Kitchen, stating “they’re too loud” as reasoning for not giving an autograph — an action she deemed dismissive. (Hell’s Kitchen and LuPone’s The Roommate are neighboring productions on Broadway.)
“I wanted to address this because, Ms. LuPone, these actions, in my opinion, are bullying,” Lewis said, “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.”
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Lewis defined microaggressions — coined in 1970 by Harvard University psychiatrist Chester M. Pierce — as “subtle, unintentional comments or actions that convey stereotypes, biases or negative assumptions about someone based on their race. Microaggressions can seem harmless or minor, but can accumulate and cause significant stress or discomfort for the recipient. Examples include calling a Black show loud in a way that dismisses it.”
She continued, “Language holds power and shapes perception often in ways that we may not immediately realize. 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.”
While Lewis said LuPone’s sending of flowers “may appear courteous,” she ultimately deemed it “dismissive and out-of-touch,” especially given the filing of a formal complaint with the theater.
In concluding her appeal, Lewis called for “direct communication, respect for the work being done and awareness of how actions resonate across diverse teams,” as opposed to sidestepping “meaningful dialogue or resolution.” She specifically called on LuPone to consider her industry veteran status as a multi-Tony, Olivier and Grammy Award winner and how her platform, influence and words may be used.
Lewis posed a series of questions surrounding respectful collaboration and uplifting the diversity of shows on Broadway that she said “can help veterans such as yourself and myself included, reflect their influence within the Broadway community in a positive way and promote a culture of respect, empathy and inclusion.”
“Ms. LuPone I respectfully submit to you that you owe us an apology, not flowers,” Lewis concluded.
