In a powerful video statement posted to social media, Broadway actress Kecia Lewis addressed fellow stage icon Patti LuPone’s recent comment that the musical Hell’s Kitchen, currently running at the Booth Theatre, is “too loud.” LuPone’s comment, which led to formal requests to lower the show’s sound cues, struck Lewis as an example of what she calls “racially microaggressive” behavior. In her message, Lewis asked for an apology and for greater respect between Broadway neighbors, framing LuPone’s criticism as potentially harmful to a production featuring a predominantly Black cast.
“Let me be clear—this message is from me alone, not the Hell’s Kitchen cast or production team,” Lewis emphasized. She explained how LuPone, whose own play The Roommate is staged at the nearby Shubert Theatre, communicated her discontent about Hell’s Kitchen’s volume to the theater owners, prompting the team to adjust the sound design. To further illustrate her frustration, Lewis played a clip of LuPone refusing to sign a fan’s Hell’s Kitchen playbill due to her “too loud” complaint.
Lewis then took the opportunity to educate her audience on what constitutes a microaggression. “These subtle, often unintentional comments or actions can carry negative assumptions or biases about race,” she explained. “Calling a predominantly Black show ‘too loud’ can unwittingly tap into harmful stereotypes, dismissing the artistry and powerful voices celebrated on stage.” In Lewis’s view, the critique reinforces a dismissive narrative and overlooks the diversity and significance that Hell’s Kitchen brings to Broadway.
While LuPone’s decision to send a thank-you bouquet to the Hell’s Kitchen team after the sound adjustments might seem considerate, Lewis interpreted it as a “performative gesture” that sidestepped any meaningful discussion about how the sound request impacted the production. This, she said, made LuPone’s comment feel “out of touch” and “disingenuous,” particularly given that the change primarily affected performers, technicians, and others who work behind the scenes to bring the show to life.
Lewis proposed that true collaboration and mutual respect between Broadway shows could avoid such conflicts, asking for direct communication and respect for each other’s unique contributions to the theater community. “Bullying in a professional setting,” she remarked, “can take the form of using one’s influence to disrupt a fellow production.” She added that actions like requesting sound adjustments to suit another show could significantly impact the working environment for the artists involved, creating additional stress and disruption.
Concluding her heartfelt statement, Lewis posed questions for veterans like herself and LuPone to consider: “How can I ensure my feedback is constructive and, more importantly, respectful? How can I use my platform to support and uplift diverse shows on Broadway?” These questions, she argued, are essential for fostering a Broadway culture rooted in empathy and mutual respect.
Lewis’s appeal ended on a hopeful note: “On Broadway, we are not just neighbors, Ms. LuPone; we’re a community that shares in each other’s artistry and challenges.” She urged for more respect and collaboration, recognizing that Broadway’s strength lies in its diversity and the collective support each production offers to the entire theater ecosystem. For Lewis, standing up for her show is as much about personal integrity as it is about cultivating a positive future for the next generation of Broadway talent.
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