Kecia Lewis a demandé des excuses à la légende de Broadway Patti LuPone, qui a qualifié la production Hell’s Kitchen de « trop bruyante », un commentaire que Lewis a considéré comme « destructive » et « racialement microagressive ». Dans une lettre vidéo, elle a souligné que sa demande était personnelle et non celle de l’équipe de production. Elle a critiqué LuPone pour ses actions qui, selon elle, manquent de respect et de communauté, appelant à une communication directe et une prise de conscience des impacts de ses paroles.
Kecia Lewis has called for an apology from Broadway legend Patti LuPone after LuPone referred to the production Hell’s Kitchen as “too loud,” a statement Lewis labeled as “bullying” and “racially microaggressive.”
In a heartfelt five-minute video message, Lewis, who won a Tony Award this year for her role in a jukebox musical celebrating Alicia Keys, clarified that her request is made independently, not on behalf of the cast, crew, or producers.
As the actress prepares for her upcoming performance in Crutch, she explained that LuPone had reached out to the theater owner to adjust the sound levels, claiming they were excessively loud. Following the sound modifications, LuPone graciously sent flowers to the sound and stage management teams, sharing a photo of the note and arrangement. Additionally, Lewis shared a video clip where LuPone declined to sign a fan’s Playbill for Hell’s Kitchen, citing the noise level as her rationale, which Lewis found dismissive. (Both Hell’s Kitchen and LuPone’s The Roommate are performed in close proximity on Broadway.)
“I felt compelled to speak out because, Ms. LuPone, I see these actions as bullying,” Lewis asserted. “They are offensive, racially microaggressive, rude, and they come from a place of privilege. Furthermore, they demonstrate a lack of community and leadership for someone with your extensive experience in the industry.”
Lewis went on to explain the concept of microaggressions, a term introduced in 1970 by Harvard psychiatrist Chester M. Pierce, as “subtle, often unintentional comments or actions that express stereotypes, biases, or negative assumptions based on race. While they may seem minor or harmless, microaggressions can accumulate and lead to significant discomfort or stress for those on the receiving end. An example is labeling a Black production as loud in a dismissive manner.”
She elaborated, “Words are powerful and shape perceptions in ways we might not recognize immediately. Calling a predominantly Black Broadway production loud can inadvertently reinforce damaging stereotypes and diminish the artistry and voices of those celebrated on stage.”
Although Lewis acknowledged that LuPone’s gesture of sending flowers “might seem polite,” she ultimately considered it “dismissive and disconnected,” especially in light of the formal complaint filed with the theater.
To conclude her appeal, Lewis emphasized the need for “open communication, mutual respect for the artistic work occurring, and an understanding of how actions affect diverse teams,” rather than avoiding “meaningful dialogue or resolution.” She urged LuPone to reflect on her industry legacy as a recipient of multiple Tony, Olivier, and Grammy Awards and to consider how her influence and words can positively impact others.
Lewis raised questions about fostering respectful collaboration and enhancing the diversity of Broadway productions. She believes such efforts can enable both established artists and newcomers to positively reflect their influence within the Broadway community, fostering a culture of respect, empathy, and inclusion.
“Ms. LuPone, I respectfully submit that you owe us an apology, not flowers,” Lewis concluded.
Kecia Lewis a demandé des excuses à l’icône de Broadway, Patti LuPone, après que LuPone ait qualifié la production Hell’s Kitchen de « trop bruyante », une déclaration que Lewis a qualifiée de « harcèlement » et de « micro-agression raciale ».
Dans une vidéo ouverte de cinq minutes, Lewis, qui a remporté un Tony cette année pour son rôle dans une comédie musicale à succès centrée sur le travail et l’enfance d’Alicia Keys, a précisé que cette demande venait uniquement d’elle, et non du casting, de l’équipe ou des producteurs du spectacle.
L’actrice, qui se prépare à apparaître prochainement dans Crutch, a souligné que LuPone avait contacté le propriétaire du théâtre pour demander des modifications aux niveaux sonores, jugés excessifs. Après l’ajustement du son, LuPone a envoyé des fleurs à l’équipe de son et de scène en guise de remerciement, partageant une photo de la note et de l’arrangement floral. De plus, Lewis a montré un clip où LuPone refuse de signer le Playbill d’un fan de Hell’s Kitchen, justifiant son refus par le niveau de bruit, ce que Lewis a trouvé dédaigneux. (Les productions Hell’s Kitchen et The Roommate