In response to the backlash, Patti LuPone issued an apology, marking a rare moment of humility for the actress. In her statement, LuPone acknowledged the harm caused by her words and took full responsibility for her actions. She expressed regret for her “flippant and emotional” responses, acknowledging that her words were “demeaning and disrespectful.” She admitted that her behavior contradicted the values of respect and collaboration upheld in the theater community, noting, “I am devastated that my behavior has offended others and has run counter to what we hold dear in this community.”

LuPone also aligned herself with an open letter signed by over 600 Broadway professionals, which calls for accountability and equity in the industry. She stated, “I wholeheartedly agree with everything that was written in the open letter shared yesterday… Our entire theatre community deserves better.”

While LuPone’s apology is a necessary first step, it is only the beginning. Words alone cannot dismantle the systemic issues of power and privilege in the theatre community. The real challenge lies in turning these words into action to ensure all artists are treated with the respect they deserve.

As the industry strives for a more inclusive and respectful environment, this moment serves as a reminder that accountability must be a constant priority, not just a reaction to controversy. It’s also important to note that the initial harm—Kecia Lewis’s experience, which sparked the video—was not directly addressed in this apology.

The industry has reached a crossroads, where conversations about racial privilege, power dynamics, and accountability must be translated into real, lasting change. Apologies are valuable, but they must be followed by tangible actions that reshape the culture of Broadway. With ongoing commitment and action, Broadway has the opportunity to create lasting change that values every artist.

The post Patti LuPone Releases Public Apology to Kecia Lewis and Audra McDonald appeared first on Broadway Black.

The recent controversy around Patti LuPone and Kecia Lewis, compounded by LuPone’s dismissive remarks about Audra McDonald and her derogatory name-calling toward Lewis, has sparked a renewed conversation on Broadway about race, privilege, and the power dynamics that shape the industry. At its core, this disagreement is not just about noise complaints or personal grudges. It exposes a much deeper issue: the marginalization of Black artists in an industry that often fails to recognize the full worth of their contributions.

The Dispute: From Noise Complaints to Microaggressions

The initial controversy began when Patti LuPone, performing in The Roommate at a neighboring theater, found the sound from Hell’s Kitchen—a Broadway musical starring Kecia Lewis—to be disruptive. LuPone contacted the Shubert Organization owner, like we all do (read: no we don’t), requesting adjustments to the sound levels. A standard professional grievance in any theater setting. After Hell’s Kitchen made the changes, LuPone sent flowers to the sound and stage management teams of Hell’s Kitchen.

However, what seemed like a resolved issue to LuPone quickly escalated when Kecia Lewis picked up on the underlying dynamics of the situation. Lewis identified LuPone’s actions for what they were: not only rude and dismissive but racially microaggressive. As a Black woman, Lewis recognized that LuPone’s complaint wasn’t simply about sound—it reflected a deeper disregard for her peers and discomfort with the cultural expression of Black artists. Lewis also shared a troubling instance where LuPone refused to sign a Hell’s Kitchen Playbill, stating, ‘I’m not signing Hell’s Kitchen, they’re too loud.’ This comment, coupled with the formal noise complaint and her swift action in wielding her power without engaging in dialogue with those affected, underscored how Black voices and creative work are often disregarded, even in the same professional spaces as their white counterparts. It’s also crucial to note that Lewis never labeled LuPone as racist; rather, she called out the bullying, privilege, and microaggressive behavior LuPone exhibited. The words Lewis chose in her statement were carefully crafted, respectfully calling LuPone into community with the grace and dignity one would expect from a theater veteran of her caliber.

LuPone’s Recent Remarks: Escalating the Disrespect

The controversy took a darker turn when, in a recent profile for The New Yorker, Patti LuPone not only called Kecia Lewis a “bitch” but also dismissed Lewis’s accomplishments by comparing them unfavorably to her own. LuPone inaccurately inflated the number of Broadway shows she’s been a part of, while downplaying Lewis’s Broadway experience. This wasn’t just a personal attack—it was an attempt to diminish Lewis’s credibility and artistic contributions.

To make matters worse, LuPone’s remarks about Audra McDonald, in which she expressed disappointment over McDonald’s support for Lewis, further compounded the racial dynamics at play. LuPone’s frustration with McDonald’s stance is telling—it reflects how Black artists who stand in solidarity with one another are often criticized, even by their white peers. This attempt to undermine McDonald’s support for Lewis reveals the discomfort some white artists have with Black voices standing up for themselves, particularly when those voices challenge the status quo.

The Implications of “You Should Know Better”: Dismissing Audra McDonald’s Voice

Patti LuPone’s statement to Audra McDonald, telling her she “should know better,” is a particularly telling moment that reveals the implicit biases at play in Broadway’s treatment of Black artists. On its surface, the comment appears to be “not that deep,” but when viewed through the lens of race and power, it takes on a much deeper meaning.

First, the assumption that McDonald “should know better” reinforces a belief that Black artists should conform to white standards of behavior, professionalism, and conduct, regardless of the circumstances. This statement subtly implies that McDonald, The most nominated and decorated performer in Tony Awards history, should already understand her place in the hierarchy of Broadway as a Black performer and that publicy (or privately) challenging or confronting disrespect is out of line, no matter how many Tonys you have. It also minimizes McDonald’s veteran experience and frames her as being less capable of making valid, nuanced decisions—an all-too-common racial stereotype.

Second, the statement places the burden of “knowing better” on the Black artist, subtly suggesting that McDonald should have been more accommodating, more silent, or more deferential in the face of LuPone’s behavior. This type of thinking perpetuates the idea that Black artists should tolerate the microaggressions and disrespect they often face in order to “maintain the peace” and avoid rocking the boat.

Lastly, it undermines McDonald’s authority and voice. To tell a Black artist they should ‘know better’ is to implicitly suggest that their judgment or response to a situation is invalid. McDonald’s advocacy for Kecia Lewis—another Black artist—was not an attack on LuPone’s professionalism but a call for accountability in light of the racial dynamics that the industry has claimed it wants to address since the ‘Broadway Reckoning of 2020.’ LuPone’s response, however, invalidated McDonald’s perspective and reinforced the idea that white voices should be prioritized, while Black voices—especially those speaking out—are seen as unprofessional and unworthy of respect.

This moment exemplifies how power dynamics and racialized expectations work to suppress the voices of Black artists in Broadway’s predominantly white spaces. It exposes how white artists—even those with immense stature like LuPone—are given a pass for dismissing or silencing the opinions of their Black peers, while Black artists should “know their place.” It also serves as a reminder that even established Black artists like Audra McDonald are not immune from being treated as less than in this system, no matter how much they’ve achieved.

The Racial Undertones: A System of Privilege and Power

LuPone’s actions reflect a deeply entrenched problem in the theater world—one that fosters a system of privilege, allowing white artists to control the narrative while Black artists are often forced to remain silent and submissive. The broader industry permits figures like LuPone to dismiss and belittle the work of Black artists without facing the same level of accountability. LuPone’s response to Lewis’s rightful critique exemplifies how power dynamics continue to marginalize Black talent in Broadway’s predominantly white spaces.

The racial undertones of the entire situation are evident in the way LuPone’s words and actions—whether intentional or not—seek to silence and diminish the contributions of Black artists. Her treatment of Kecia Lewis and Audra McDonald is symptomatic of a longtime industry illness where white stars are the first right of belief, while Black artists must constantly fight for equity and basic respect.

The Unseen Forces Shaping Broadway’s Power Dynamics

These microaggressions—those small, often unintentional slights—are an everyday reality for Black artists. LuPone’s refusal to sign a Hell’s Kitchen Playbill is an example of how implicit bias works on an unconscious level. It wasn’t a calculated attack but rather an unconscious reflection of her ingrained biases, where the cultural expression of Black artists and their work are undervalued. What may have seemed like a simple noise complaint to LuPone became, for Lewis, a striking reminder of the subconscious and unchallenged biases that frequently affect Black artists.

In Broadway’s ecosystem, implicit bias influences who gets heard, who gets celebrated, and who is silenced. Black artists like Kecia Lewis and Audra McDonald are often expected to bear the weight of their success quietly, without challenging the established power structures. When they do, even in small ways like calling out disrespect, their actions are frequently perceived as “difficult” or “disruptive,” especially when their white counterparts—like LuPone—are praised for doing the same things.

Implicit bias isn’t always intentional, but it’s just as damaging. When LuPone criticized Hell’s Kitchen in a way that suggested the work of Black artists didn’t deserve the same level of respect as other Broadway productions, it exposed how pervasive these biases are in a world where privilege often goes unchecked. Her behavior toward Lewis and later toward McDonald when she expressed support for Lewis showcases the dynamic of privilege at play. White stars, regardless of their behavior, are often excused, while Black artists face harsher judgment and severe scrutiny for similar actions.

In short, implicit bias is what allows Broadway to continue upholding racial power dynamics without actively acknowledging them. The difference between how LuPone’s actions were excused versus how Lewis faced criticism speaks to the unconscious prejudices that influence even the most minor interactions. These biases are a part of a broader system that continues to marginalize Black voices in the arts, even when those voices deserve to be heard just as loudly and clearly as their white counterparts.

A Tale of Two Responses: Lillias White vs. Patti LuPone

The disparity in how Broadway stars are treated based on their race is starkly evident when comparing two celebrated performers: Lillias White and Patti LuPone. Both of these legendary actresses have had moments of tension with audiences, but the reactions to their behavior could not have been more different.

When Lillias White, a Black Tony Award-winning actress, called out an audience member during a performance for using what she believed to be a recording device (which was later revealed to be a captioning device), the backlash was swift and severe. White was criticized by some for her approach, with many questioning her professionalism and demanding an apology. However, the reality of her frustration was apparent: Black artists are constantly navigating a space where their voices and boundaries are not always given the same respect as their white peers. White was met with harsh judgment for standing up for herself and the integrity of her performance.

In contrast, Patti LuPone has snatched phones from audience members and publicly yelled at theatergoers on multiple occasions. Instead of facing criticism, LuPone is often praised for her outspokenness and boldness. Her actions, while similarly aimed at preserving the integrity of the performance, are seen as “part of her legendary persona.” This stark contrast in responses reveals a deeper issue in Broadway’s treatment of Black artists versus white artists. While LuPone’s behavior is excused or celebrated, White’s is scrutinized, even though both were merely standing up for their space and their craft.

This double standard speaks volumes about the unequal expectations placed on Black artists. This kind of disparity highlights the ongoing need for Broadway to reassess its approach to addressing issues of race, power, and respect within its community.

The Broader Implications: How Black Talent is Undervalued Across Broadway

The implications of Patti LuPone’s behavior are deeply troubling, especially when considering that she felt so comfortable publicly disrespecting Kecia Lewis, a Tony Award-winning actress. Suppose a renowned Broadway icon like LuPone can dismiss and belittle a Black artist of Lewis’s caliber without facing significant consequences. In that case, it raises serious questions about how other Black actors are treated behind the scenes. Black talent in theatre, even those with the highest accolades, is often subjected to microaggressions, marginalization, and erasure. This is not to suggest that an artist without accolades deserves such treatment, but if someone as established as LuPone feels emboldened to act with such disregard, it serves as a stark reminder of how pervasive these issues are. Black artists, especially those without the same platform or recognition, likely face even greater challenges in navigating the industry. It’s a clear signal that Broadway must confront the systemic racism that continues to undermine the voices and contributions of Black performers at every level.

An Industry at a Crossroads

The LuPone controversy, serves as a poignant reminder that the fight for equity and respect on Broadway is far from over. It’s not just about complaints or personal disagreements. It’s about how race and privilege continue to shape the opportunities and treatment of Black artists in an industry that claims to be a space for creative expression and diversity.

As artists, creators, and leaders in the Broadway community, we must continue to push for an industry that genuinely values and respects Black talent. The conversation about race, professionalism, and the impact of language is not and will not be rooted in a single incident. It’s ever evolving and we have to be willing to create a space where all artists, regardless of race, are allowed to thrive, be heard, and be respected. This moment presents a crucial opportunity for the theater community to reflect on its internal dynamics and examine how power and privilege influence not only the work on stage but also the relationships behind it. It’s time for accountability, and for an industry that prides itself on being the most diverse in creativity and inclusivity to truly reflect those values in how it treats all of its artists.

The post Power and Privilege on Broadway: Patti LuPone’s Disrespect of Kecia Lewis and Audra McDonald Explained appeared first on Broadway Black.

Four-time Tony Award nominee Camille A. Brown will choreograph and is poised to breathe new life into this timeless classic. Additional casting and creative team members will be announced at a later date. Including Arthur Laurents’s book, Jule Styne’s music, and Stephen Sondheim’s lyrics, “Gypsy” is set to reopen the legendary Majestic Theatre, adding another glorious chapter to its illustrious history.

Producers Tom Kirdahy and Mara Isaacs, along with Kevin Ryan and Diane Scott Carter, have expressed their excitement at the prospect of bringing Audra McDonald’s unparalleled talent to the forefront of this production. Their vision of pairing McDonald with the esteemed George C. Wolfe is set to captivate audiences and reaffirm the musical’s status as one of the greatest of all time.

Kirdahy and Isaacs expressed their delight in a statement: “Sometimes the theatre gods smile upon us. This is one such time. We could not be more honored to bring this particular ‘Gypsy’ to the Broadway stage and also include the singular Camille A. Brown as part of our creative team.”

The revival of Gypsy promises to be a momentous occasion. Performances are scheduled to begin on Thursday, November 21, 2024, at the newly renovated Majestic Theatre. The official opening is on Thursday, December 19, 2024, marking a milestone in Broadway history.

Audra McDonald’s casting as “Rose” has generated significant anticipation, with critics and fans eagerly awaiting her interpretation of this iconic character. Known for her unparalleled versatility and polish on stage, McDonald is poised to imbue Gypsy with a newfound depth and nuance.

George C. Wolfe, hailed as “a titan of the American theatre” by The New Yorker, reunites with McDonald following their collaboration on the Tony-nominated production of “Shuffle Along, or, The Making of the Musical Sensation of 1921 and All That Followed.” Their partnership promises to bring a fresh perspective to “Gypsy,” breathing new life into this beloved classic.

Tickets for Gypsy will go on sale on Thursday, May 30, 2024, at 10 a.m. via telecharge.com, offering theatre enthusiasts the opportunity to secure their seats for what promises to be an unforgettable theatrical experience.

Since its premiere in 1959, “Gypsy” has captured the hearts and imaginations of audiences worldwide, with legendary performers such as Ethel Merman, Angela Lansbury, and Bernadette Peters leaving an indelible mark on the role of “Rose.” Now, as Audra McDonald takes center stage, it’s her turn to shine in this timeless musical theatre masterpiece.

The post Audra McDonald to Star in Revival of Legendary Musical “Gypsy” appeared first on Broadway Black.

A member of the Theater Hall of Fame, Adrienne Kennedy will make her Broadway debut with this production at age 90. A well-known prize-winning playwright as well as lecturer and author who has been contributing to American theater for over six decades, Kennedy is best known for her plays such as Funnyhouse of a Negro, June and Jean in Concert, Sleep Deprivation Chamber, and numerous other plays and books.

“I am so thrilled. It’s only taken me 65 years to make it to Broadway!”

Adrienne Kennedy

Ohio State Murders is an unusual look at the destructiveness of racism in the United States. When SuzanneAlexander (McDonald), a fictional Black writer, returns to Ohio State University to talk about the violence in her writing, a dark mystery unravels.

Dates, casting and the creative team will be announced in the coming months.

The producing team for Ohio State Murders is led by Jeffrey Richards, Rebecca Gold, Jayne Baron Sherman and
Irene Gandy.

The post Audra McDonald Returns to Broadway in Adrienne Kennedy’s <em>Ohio State Murders</em> appeared first on Broadway Black.

Friedman-Abeles/New York Public Library

Today marks the 62nd anniversary of the Broadway debut of Lorraine Hansberry’s landmark play A Raisin In the Sun. It was on this date that history was made as Hansberry was the first African American woman to have her play produced and performed on Broadway; it was also the first Broadway play to be directed by a Black person (Lloyd Richards). It opened at the Ethel Barrymore Theater (and later moved to the Belasco Theater) on March 11, 1959, and played for a total of 530 performances before closing on June 25, 1960.

The play centers around the Youngers: a family of five that lives in a 2-bedroom apartment on the Southside of Chicago. Set to the backdrop of post-WWII, the family’s pursuit of success is driven by the idealization of the American dream; often thwarted by the consequential effects of racism, cultural appropriation and identity, and generational differences. Hansberry gives the reader, and oftentimes the performer, an eye-opening look into the Black experience in America with questions of freedom – educational and economic – ruling the conversation.

The play echoes many of the circumstances and accounts of the playwright’s family from the 1940 Supreme Court case of Hansberry v. Lee, which gave them a voice in the judicial system to fight against racial discrimination in the housing market.  Inspired by that, she wrote parts of her truth through the language of a family who only wanted their slice of the American pie; a slice that would feed their spirits in a world that starved them of their identity. 

A Raisin In the Sun has seen a long history on Broadway and around the world. After the original production was nominated in 1960 for four Tony Awards, the story became a universal tale of hope and success. The original production starred Hollywood leading man Sidney Poitier (later succeeded by Ossie Davis), Ruby Dee, Claudia McNeil, Diana Sands, Louis Gossett, Ivan Dixon, Lonne Elder III, John Fiedler, Glynn Turman, and Ed Hall. Multiple iterations of Hansberry’s classic have graced the stage and screen over the last 62 years: 

1961 film starring the original Broadway cast. 

Raisin (a musical based on A Raisin In the Sun) debuted on Broadway in 1973. The book was written by Hansberry’s former husband and starred Joe Morton, Debbie Allen, Virginia Capers (Tony winner for Lead Actress in a Musical), Ernestine Jackson, and Ralph Carter. It also won the Tony Award for Best Musical. 

1989 tv film starring Danny Glover and Esther Rolle.

2004 Broadway revival starring Sean Combs, Audra McDonald (Tony winner for Best Featured Actress in a Play), Sanaa Lathan, and Phylicia Rashad (Tony winner for Best Actress in a Play; also the first Black woman to win this award).

2008 tv movie event starring many of the leads of the 2004 Broadway revival. 

2014 Broadway revival at the Ethel Barrymore Theater (where it originally played in 1959) starring Denzel Washington, Sophie Okonedo (Tony winner for Best Performance by an Actress in a Featured Role in a Play), Anika Noni Rose, and LaTanya Richardson Jackson. The production also won the Tonys for Best Revival of a Play and Best Direction for Kenny Leon (who also directed the 2008 tv movie). 

The title was inspired by the Langston Hughes poem “Harlem,” which starts out with “what happens to a dream deferred? Does it dry up like a raisin in the sun?” It is the hope in the midst of suffering and the strength in the midst of pain that makes this classic theatre work a blessing to the arts community.

In honor of Women’s History Month, Broadway Black honors Lorraine Hansberry. Your dream is a gift to us all.

The post A Dream Realized: On This Day In Black Theatre History A Raisin In the Sun Debuts on Broadway appeared first on Broadway Black.

The concert, United in Song: Celebrating the Resilience of America, was filmed in front of a socially-distanced audience from George Washington’s home in Mt. Vernon. Special guests will include 6-time Tony Award winner Audra McDonald (Lady Day at Emerson’s Bar and Grill) , Tony winner Brian Stokes Mitchell (Shuffle Along), Tony nominee Anna Deavere Smith (Twilight, Los Angeles 1992), Grammy winner Patti LaBelle (After Midnight), and more.

The concert will simultaneously stream at PBS.org or on the PBS Video App.

The post Broadway Stars <em>United In Song</em> On PBS New Year’s Eve appeared first on Broadway Black.

Update: Click

The holiday season is in full swing, and what the world needs now more than ever is some joy. Even though family gatherings may look a bit different this year and celebrations have been scaled back, the Broadway community continues to be a beacon of light during an unexpected dark time.

The Tony Award-winning and Grammy-nominated Broadway Inspirational Voices is a diverse choir of Broadway artists united in changing lives through the power of music and service. Founded in 1994 by Michael McElroy (Rent, The Wild Party), the annual concert, much like many other special musical programmings this holiday, will be live-streamed for FREE on Sunday, December 13 7:00 pm.

The concert “A Season of Hope and Inspiration,” will feature special guests, Billy Porter, Leslie Odom Jr., Daniel J. Watts, and Shoshana Bean; with special appearances by Leslie Uggams, Debbie Allen, Audra McDonald, Brian Stokes Mitchell, Phylicia Rashad, Vaness Williams, and more.

McElroy has described the evening as a “moment of unity to bring comfort, healing, and great joy.”  And if you’re interested in hearing some pieces from past holiday concerts, you can check out their albums Great Joy: A Gospel Christmas and Great Joy II: Around the World.

The post Broadway Inspirational Voices’ A Season of Hope & Inspiration, Free Virtual Holiday Concert appeared first on Broadway Black.

Later, McDonald sat down to talk about the highly-anticipated new musical Shuffle Along, and explained the historical significance of the show (it broke many barriers including being first to feature jazz in musicals, feature black actors, and even have black audience members in the orchestra seats). She also talked about what it’s like learning choreography from tap phenomenon  Savion Glover (she swears she’ll have it together by the first preview).

As a bonus, The Tonight Show blessed us with another clip where McDonald recalls some of her tales from backstage while doing Porgy and Bess and 110 In The Shade, which includes dog poop and ladybug tattoos.

Check out the videos below and if you haven’t already, get your Shuffle Along tickets here. Previews start at The Music Box on March 15th, and officially opens April 28th. Trust us, it’s a show you definitely don’t want to miss.

The post Audra McDonald Sings Yahoo! Answers On Jimmy Fallon + Talks Shuffle Along Broadway appeared first on Broadway Black.

The program is billed as:

Some of Broadway’s top talents are joining forces on one of the most anticipated shows of the season, a star–studded revival of the 1921 musical “Shuffle Along,” with music and lyrics by the legendary Sissle and Blake, a new book by George C. Wolfe, , based on the original by F.E. Miller and Aubrey Lyles, and new choreography by Savion Glover. Don’t miss this exciting opportunity to find out more when New York Times critic at large Wesley Morris talks with the show’s star, six–time Tony Award® winner Audra McDonald, and its writer/director, Tony Award winner George C. Wolfe.

The post WATCH: Times Talks Shuffle Along with Audra McDonald & George C. Wolfe appeared first on Broadway Black.

Well, if you’re in New York January 26, you’re in luck. Lincoln Center will be hosting two Broadway Black favorites in an intimate discussion about the craft, career, and WERK of 6 time Tony winner, Audra McDonald.

Carousel, Master Class, Ragtime, A Raisin in the Sun, The Gershwins’ Porgy and Bess, Lady Day at Emerson’s Bar & Grill. These are the 6 shows that have pulled Audra McDonald into Broadway heavyweight status. While we love her on the stage, her talent spans to telvesion and the big screen, too. She’s always working and everything she touches turns to gold.

The Wiz Live! alum, Shanice Williams has let it be known that she loves everything Audra McDonald (just like we do) and wants to follow in her path. It’s as if the stars have aligned because not only does Williams get to be coached and mentored through Q&A by her role model, but we get to sit in the audience with our No 2 pencils and college lined notebooks (aka iPhones), soaking up all of this wisdom! Theatrical Director Lonny Price will handle introductions and formalities, but after that it’s all in the hands of Williams. Go Shanice!

Lincoln Center continues to make arts accessible to the community on a large scale. Directors Lonny Price and Matt Cowart have a few new programs up their sleeves. They are rolling out LC Dialogues, LC Originals, and Late Nights at the Atrium; and because of them we have this gem! If this speaks to the caliber of events to come, we can’t wait to see the rest of the programs for this year.

This event is free and admission is first come, first serve. It will be held at the David Rubenstein Atrium at 7:30pm.

The post Shanice Williams Interviews Audra McDonald at Lincoln Center appeared first on Broadway Black.