Patti LuPone, Kecia Lewis
The Broadway world is no stranger to drama, but the latest clash between legends Patti LuPone, Kecia Lewis, and Audra McDonald has ignited a firestorm of debate about privilege, respect, and the evolving culture of theater. In a candid New Yorker profile published May 26, 2025, LuPone declared McDonald “not a friend” and dismissed Lewis’s critiques as baseless, reigniting tensions that stretch back years . This article unpacks the feud’s origins, its implications for Broadway’s inclusivity, and the broader conversation about accountability in the arts.
The LuPone-McDonald Rift: A Friendship Fractured
Patti LuPone and Audra McDonald, both Tony-winning powerhouses, have shared stages for decades—from Sweeney Todd (2000) to Rise and Fall of the City of Mahagonny (2007) . Yet their relationship soured long ago, as LuPone revealed in the New Yorker interview. When asked about McDonald’s groundbreaking role as Rose in Gypsy—a character LuPone famously portrayed in 2008—she responded with icy silence before remarking, “What a beautiful day” .
McDonald’s Gypsy revival, which marks the first time a Black woman has played Rose on Broadway, earned her a record 11th Tony nomination, further cementing her status as the most decorated performer in Tony history . LuPone, who has three Tonys to her name, notably avoided praising the production, hinting at lingering resentment .
The final straw came when McDonald publicly supported Kecia Lewis in her dispute with LuPone. McDonald’s use of supportive emojis on Lewis’s Instagram post prompted LuPone to snipe, “That’s typical of Audra” .
The Clash with Kecia Lewis: Noise, Privilege, and “Veteran” Status
The feud between Patti LuPone and Kecia Lewis began in late 2024, when LuPone, starring in The Roommate next door to Lewis’s Hell’s Kitchen, complained about sound bleeding through shared theater walls. After contacting the Shubert Organization to address the issue, LuPone sent flowers to the Hell’s Kitchen crew—a gesture overshadowed by her later refusal to sign playbills, citing the show’s volume .
Lewis, a Tony-winning actress with 10 Broadway credits, responded with a viral Instagram video accusing LuPone of “bullying,” “racial microaggressions,” and leveraging privilege to undermine a Black-led production . “Referring to a predominantly Black show as ‘loud’ reinforces harmful stereotypes,” Lewis argued .
LuPone’s rebuttal was scathing: “She calls herself a veteran? Let’s find out how many Broadway shows Kecia Lewis has done… She’s done seven. I’ve done 31. Don’t call yourself a vet, bitch!” . Fact-checkers later corrected LuPone’s numbers (Lewis: 10 shows; LuPone: 28), but the damage was done .
Broadway Reacts: Backlash and Broader Implications
The theater community swiftly condemned Patti LuPone’s remarks. Social media erupted with critiques, including one user’s observation: “Cruelty mistaken for charisma doesn’t fly in 2025” . Critics highlighted the racial dynamics at play, noting that LuPone’s dismissal of Lewis—a Black woman with a 40-year career—echoed systemic inequities .
Audra McDonald’s silent support for Lewis contrasted sharply with LuPone’s vitriol. As the OnStage Blog editorialized: “Greatness in 2025 looks like lifting others up… Patti’s legacy is tarnished by this” .
The incident also reignited debates about Broadway’s culture. While LuPone defended her complaints as routine (“This happens all the time” ), others saw her actions as emblematic of an industry struggling to balance tradition with inclusivity .
Historical Context: Legacies and Collaborations
To understand this feud, one must examine the legacies of these icons:
- Patti LuPone: A three-time Tony winner known for Evita and Gypsy, LuPone has cultivated a “tell-it-like-it-is” persona. Yet her clashes—from snatching cellphones to berating maskless audiences—increasingly draw scrutiny .
- Audra McDonald: With six Tonys and 11 nominations, McDonald’s trailblazing career includes historic roles in Lady Day at Emerson’s Bar & Grill and Gypsy. Her quiet support for Lewis aligns with her reputation as a unifying figure .
- Kecia Lewis: A Dreamgirls original cast member and 2025 Tony nominee for Hell’s Kitchen, Lewis’s advocacy reflects broader calls for equity in theater .
Their collaborations—like Sweeney Todd and Mahagonny—once symbolized Broadway camaraderie. Now, they underscore a fractured dynamic .
Conclusion: Broadway at a Crossroads
The Patti LuPone, Kecia Lewis, and Audra McDonald feud is more than gossip—it’s a microcosm of Broadway’s growing pains. As the industry grapples with diversity and accountability, LuPone’s remarks serve as a cautionary tale. While her talent is undeniable, her refusal to evolve risks alienating a new generation of artists and audiences.
As Hell’s Kitchen celebrates Black artistry and McDonald breaks barriers in Gypsy, the message is clear: Broadway’s future lies in lifting marginalized voices, not silencing them. Whether LuPone adapts—or doubles down—remains to be seen.
External Links:
- Patti LuPone’s New Yorker Interview
- Audra McDonald’s Historic Tony Nomination
- Kecia Lewis’s Instagram Response