Call three-time Tony Award Winner Patti LuPone many things, but never call her quiet. 

Earlier this summer, she was on a Gay Cruise (quelle surprise), which was banned from landing in both Turkey and Egypt.  To be fair to Ms LuPone, she wasn’t the reason for these violently homophobic decisions, and surrounded by a liner full of semi-naked gay men (!) she issued a statement  I am furious, but I am sailing, as the ship will make other ports of call. I am ready to perform for all the wonderful men on this Atlantis cruise, who deserve so much better than this.I am furious, but I am sailing, as the ship will make other ports of call. I am ready to perform for all the wonderful men on this Atlantis cruise, who deserve so much better than this.”

Then recently Lupone turned up onstage one night for a special fan night cameo during Jim Parsons’ starry “Ruth’s Turn” moment in TITANÍQUE. LuPone’s own historic performance as GYPSY’s Mama Rose was at this very theatre, the St. James, in 2008. 

But then, on the downside (!) last summer, her mouth got Ms Lupone into trouble. In a New Yorker interview, LuPone was asked about a controversy that circulated during her time co-starring in “The Roommate” with Mia Farrow last fall. The play, which has since closed, shared a wall with the Tony-winning musical “Hell’s Kitchen,” featuring Kecia Lewis. LuPone reportedly asked for the sound design of “Hell’s Kitchen” to be adjusted because the music would bleed through the shared walls, and sent the sound and stage management team flowers and a thank-you note once it was fixed.  However, Lewis posted a video on Instagram in November in response, calling LuPone’s actions “racially microaggressive” and “rooted in privilege.”

That didn’t sit well with Lewis, plus there was also the question that Lupone had also publicly bad-mouthed Audra McDonald.  Before long, more than 600 members of the Broadway community signed an open letter condemning the three-time Tony winner’s controversial comments about Kecia Lewis and Audra McDonald.

The letter, addressed to the American Theatre Wing and the Broadway League, criticized LuPone for calling Lewis a “b—-” and saying McDonald is “not a friend” in the New Yorker profile. “This language is not only degrading and misogynistic — it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment,” the letter says.

LuPone was very quick to respond and said  “​I wholeheartedly agree with everything that was written in the open letter.”She apologized for using words, particularly toward Lewis, that were “demeaning and disrespectful. I am deeply sorry,”  LuPone added, “I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others and has run counter to what we hold dear in this community. I hope to have the chance to speak to Audra and Kecia personally to offer my sincere apologies.”

Lets hope she’s on her best behavior next Valentine’s Day as she is heading back to London with her the 25th Annivesaery of critically acclaimed theatrical concert Matters of the Heart for two nights at the London Coliseum

“Performing my show “A Life in Notes” at the Coliseum in 2025 was a special night that I remember dearly. I can’t wait to come back with “Matters of the Heart,” which I first performed at the Donmar Warehouse in 1999. And it’s Valentine’s Day, Dolls. Will you be my Valentine?”

Back in 1979  she wowed the theatre world as Eva Perón in Evita where she sang, asking Argentinia not to cry for her (!) which earned the actress her first Tony Award, and we’ve been kind of in awe/scared stiff ever since.

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