Kecia Lewis addresses microaggressions in Broadway: A call for respect and collaboration

Kecia Lewis calls for changes in Broadway dynamics

In recent events that have stirred the Broadway community, Hell’s Kitchen star Kecia Lewis has openly requested an apology from the legendary Patti LuPone. This comes after LuPone labeled the show as “too loud,” prompting requests for changes in its sound cues. The comments made by LuPone have been seen by Lewis as offensive, racially microaggressive, rude, and rooted in privilege.

The personal message to Patti LuPone

In a heartfelt and direct five-minute video, Kecia Lewis clarified that her message was from her alone and not on behalf of the cast, crew, or producers of Hell’s Kitchen. She recounted several interactions where LuPone contacted the theater owner to request sound adjustments, finding them too loud.

LuPone is currently starring in her play, The Roommate, at the Shubert Theatre, which shares a wall with the Booth Theatre, home to Hell’s Kitchen.

An apology followed by gestures

After the adjustments to the sound design, LuPone sent flowers to the sound and stage management team, thanking them for accommodating her request. However, Lewis highlighted a clip where LuPone refused to sign a Hell’s Kitchen playbill for a fan, citing the show’s volume as the reason.

Understanding microaggressions in Broadway

“I want to explain what a microaggression is,” said Lewis. “These are subtle, often unintentional comments or actions that convey stereotypes, biases, or negative assumptions based on someone’s race. They might seem harmless but can accumulate and cause significant stress or discomfort.” Lewis pointed out that calling a predominantly Black show loud in a dismissive manner can be seen as a microaggression.

Language and perception in the theater industry

“Our industry’s language holds power and shapes perception,” Lewis continued. Referring to a Black Broadway show as loud can unintentionally reinforce harmful stereotypes and feel dismissive of the artistry on stage. “While gestures like sending thank you flowers may seem courteous, they come off as dismissive and out of touch,” she noted, especially after a formal complaint led to sound changes that impacted the entire production.

Calls for collaboration and respect

Lewis advocated for collaboration between the two shows, emphasizing “direct communication, respect for the work being done, and awareness of how actions resonate across diverse teams.” Without this collaboration, Lewis deemed LuPone’s actions as bullying. She described bullying in professional settings as using one’s status or connections to cause unnecessary changes in someone else’s work environment, such as requesting sound adjustments.

Performative gestures and their impact

“Performative gestures are another form of bullying,” Lewis explained. By sending thank you flowers after impacting the production, such actions can be perceived as disingenuous, especially if they sidestep meaningful dialogue or resolution.

Reflecting on the Broadway community

Lewis offered questions for both herself and LuPone to ponder: “How can I ensure my feedback or concerns are communicated respectfully and constructively? How can I use my platform to support diverse show teams and acknowledge the unique value they bring to Broadway?”

Answering these questions can help veterans like Lewis and LuPone reflect their influence positively within the Broadway community. “On Broadway, we aren’t just neighbors; we’re a community that shares in each other’s artistry and challenges. Respect and collaboration keep us thriving and inspire the next generation.”

Engage with us on social media to share your thoughts and follow for more updates on Broadway and theater news!