Back in November of last year, I wrote about the silly–but instructive—Broadway feud between diva Patti Lupone and performer Kecia Lewis, who is black, and who has received some accolades herself. Lewis was starring in “Hell’s Kitchen,” a 2024 jukebox musical about the life and career of Alicia Keys in a theater that shared a wall with the theater featuring “The Roommate,” a quiet, two-actor drama starring Mia Farrow and LuPone. The amplified sound in “Hell’s Kitchen” at two points in the musical could be heard by the audience LuPone’s show, so LuPone sent a polite note to the “Hell’s Kitchen” producers asking them to turn down the volume at those points in the sound design that were loud enough to interfere with her show. (The producer of “The Roommate”should have handled that, but Patti has power and influence and has never been shy about using them.) “Hell’s Kitchen” complied. LuPone, in gratitude, sent a thank-you note to the producers and flowers to the stage management and sound staff.
But Lewis decided to play the race card, because that’s what so many of the Woke of Color have been taught to do, because it works. She posted a video on Instagram reprimanding LuPone for supposedly engaging in race-based “microagressions.” I wrote in “Dear Patty LuPone: Please, PLEASE Tell Kecia Lewis ‘Oh, Bite Me!’” that I was ” hoping against hope that LuPone, who is the epitome of a diva (as this Ethics Alarms post demonstrates), either issues an emphatic “Bite Me!” to Lewis or ignores her completely as not worthy of attention from Patti’s perch on Broadway Olympus. Lewis is the racist here; she is the one who is stereotyping a white performer as insensitive and dismissive.”
I honestly thought this was a joke. As a stage director, I couldn’t believe that a Broadway show—a drama, supposedly— would stoop this low. My head has been in a continuous state of eruption since I found out the report was accurate.
George Clooney has a vanity project on Broadway, a stage adaptation of his well-received 2005 movie about Edward R. Murrow’s high stakes showdown with demagogue Joe McCarthy at the height of his power. He co-wrote the screenplay and directed while also playing a supporting role. Now, twenty years later, Clooney has moved himself into the starring role as Murrow (previously played by a better and more Murrow-like actor, David Strathairn).
The play has been getting luke-warm reviews, but none of the ones I read mentioned this little detail: At the end of the play, which is supposed to be about the importance of a courageous press that “speaks truth to power” and is trusted by the public to be fair and uncorruptible, a giant photo of Elon Musk giving the alleged “Nazi salute” is projected on the backdrop.
It was not a Nazi salute, and the Axis news media that represented it as such proved just how far the profession of journalism has fallen since the halcyon days of Edward R. Morrow. But the photo surely isn’t intended to convey that message. Clooney, or some lunatic, with Clooney’s approval, was trying to equate McCarthyism with the Trump administration, and McCarthy’s totalitarian methods with Musk. It’s such a bizarre and idiotic analogy that I can’t properly critique it because I don’t comprehend the thinking behind it. It is lizard-brain level at best, and I always thought Clooney was smarter than that. (My dog Spuds is smarter than that.)
But reports are that the Trump Deranged Broadway audiences gasp and react as if this is brilliant commentary. I would have walked out. Any decent American or responsible theater-goer should walk out.
Trust me on this: the rave reviews you may have read about how wonderful the film version of “Wicked” is are the result of pure cognitive dissonance scale manipulation in action. It was cleverly engineered to be a love note to “Wizard of Oz” cultists, social justice warriors, Trump-Deranged fanatics and woke warriors, adding in the kind of people who listen to the Sirius-XM Broadway channel. It is not a great movie musical and arguably not even a good one. I wonder if its Hollywood architects and cast even realizes that the thing hoists itself on its own petard?
Allow me to get the artistic end out of the way before discussing the political and ethics mess in Part 2, Above all else, the movie is inexcusably bloated and long, and I say this as someone who has no problem with long movies if the time is necessary to tell a story, it is told well, and the director understands pacing. At two hours and 40 minutes, a film that covers the first act of the Broadway hit (“Wicked” is coming up on its 22nd year on Broadway) is just five minutes shorter than the entire stage musical. It is literally stuffed with gratuitous and pedestrian dialogue, extended scenes, CGI and show-off special effects.
Does this outrageous story of contrived race-baiting on Broadway relate to tomorrow’s election? Sure it does. I’ll explain after you finish gagging following the facts of the incident.
Kecia Lewis is a talented black Broadway actress. She won a Tony for her performance in “Hell’s Kitchen,” a 2024 jukebox musical (that means the show has no original music and uses previous pop hits to try to tell a story). The show, about the life and career of Alicia Keys, shares a wall with another Broadway theater and creates a problem that actors, directors and producers have complained about for decades: the amplified sound in “Hell’s Kitchen” can be heard by the audience of the show next door. (You know when you’re in a multi-screen “cineplex” watching an intimate drama and the movie showing in the next theater is “Pearl Harbor”? It’s like that.)
The show next door to “Hell’s Kitchen” is “The Roommate,” a quiet, two-actor drama starring Mia Farrow and Broadway legend Patti LuPone of “Evita” fame. LuPone sent a polite note to the “Hell’s Kitchen” producers asking them to turn down the volume at two points in the sound design that were loud enough to interfere with her show. They did. LuPone, in gratitude, sent a thank-you note to the producers and flowers to the stage management and sound staff.
In a normal world, that would be the end of it. I’m certain this exact scenario has played out many times over the years as simple professional courtesy and consideration. Ethics!
But no. Kecia Lewis decided to be offended. She posted a video on Instagram reprimanding LuPone for engaging in “microagressions.” She complained,
“After our sound design was adjusted, [you] sent flowers to our sound and stage management team thanking them”… “I want to explain what a microaggression is – These are subtle, unintentional comments or actions that convey stereotypes, biases or negative assumptions about someone based on their race. Microaggressions can seem harmless or minor, but can accumulate and cause significant stress or discomfort for the recipient. Examples include calling a Black show loud in a way that dismisses it. In our industry, language holds power and shapes perception, often in ways that we may not immediately realize. Referring to a predominantly Black Broadway show as loud can unintentionally reinforce harmful stereotypes, and it also feels dismissive of the artistry and the voices that are being celebrated on stage. Comments like these can be seen as racial microaggressions, which have a real impact on both artists and audiences. While gestures like sending thank you flowers may appear courteous, it was dismissive and out of touch, especially following a formal complaint that you made that resulted in the changes that impacted our entire production, primarily the people who have to go out on stage and perform.”
Yes, she really says that. She does. I’m not making it up! This insufferable actress not only felt that was a reasonable response to a request, a thank-you, and flowers, but decided to issue her complaint publicly rather than having the guts to tell LuPone that she’s a racist to her face.
Chita Rivera, veteran musical comedy star, actress and dancer extraordinaire, has died at 91. She had a remarkable career and an unusually long one. I saw Chita perform live but once, long after her prime in a West End production of “The Kiss of the Spider Woman,” a not-so-great and over-hyped musical. Rivera had major roles in the hit Broadway productions of ”West Side Story,” “Bye Bye Birdie” and “Chicago,” among others. The Times obituary is full of information, though it skirts over what I recall as being a particularly cruel career blow, when Rivera was passed over for the role of Anita in the film version of “West Side Story” for Rita Moreno, even though Rivera had won a Tony for her performance in the role on stage. It also doesn’t mention an unusual altruistic act by Rivera when she was co-starring with Dick Van Dyke and Paul Lynde in the 1960 musical, “Bye Bye Birdie.”
Two years after Stephen Sondheim’s death, “Here We Are” will premiere Off-Broadway in a 526-seat theater. Previously titled “Square One,” the show is based on Buñuel’s “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel.” The producers are advertising it as “the final musical by composer Stephen Sondheim;” it will open this week and run until January.
Sondheim, however, never finished the musical. In fact, when he announced that he had given up on writing it, Ethics Alarms saluted him, praising the Broadway icon for “doing the responsible thing, quitting….Virtually no composers and very few artists generally do anything but decline after the age of 60, though many try to keep churning out wan imitations of their best work as long as someone will pay them.” Sondheim’s last reasonably successful Broadway musical was “Passion,” in 1994, when the composer was 64. Before “Here We Are,” he labored for a decade over a musical that hit the stage in multiple versions with several titles. None of them were successful. Asked days before his death if he foresaw when his final musical would be finished, Sondheim curtly replied: “No.”
Yet now, mirabile dictu, his collaborators are announcing that the musical is complete. Interesting: Sondheim had said he finished all the songs in the first act, but had been stuck on writing songs for Act II. No problem! The show’s producing team now says that two months before Sondheim’s death, he had agreed to let the show go forward following a well-received reading of the material that existed at that point. That reading, however, contained no music. I’ve directed and organized many readings of new works, and the amount of rewriting, cutting and re-conceiving a show that takes place after that starting point is always massive–and often a show never makes it to production.
I have come to the realization that those apathetic, half-awake Americans who shrug off the creeping fanaticism of the antiracism, “diversity, equity and inclusion” mob must not follow developments in the show business and entertainment world, for there the most throbbingly stupid and hypocritical outbreaks of The Great Stupid inevitably occur.
Last month, the ridiculous non-traditional casting version of “1776” opened. Ethics Alarms has discussed it a couple of times: the conceit of casting the Founding Fathers as female, non-binary, trans colonials of color is a naked “Hamilton” rip-off that mocks the show and our history for political grandstanding. As anyone could have predicted, it stinks, though the naturally sympathetic and woke theatrical critic community didn’t have the guts or integrity to say so outright. No, most of them just issued mealy-mouthed deflections like the Times critic, who wrote in part after delivering the mandatory “what a good idea!” virtue-signaling about what was always, absent a miracle, a wretched idea…
….the performances are so vastly histrionic and unchecked by the social situation (this is Congress, after all) that they seem inside-out….It does not help that the new arrangements and orchestrations, aiming to refresh the songs’ profiles in the way the casting is meant to refresh the story, merely make them muddy — and make many of the lyrics unintelligible….
When performers mime the emotions we should be having, the storytelling contract has been broken….What a wasted opportunity!…Instead we get subtracted value. I don’t mean for the cast, who deserve the opportunity, or even for the theater as an industry and an ecosystem….But underlining one’s progressiveness a thousand times, as this “1776” does, will not actually convey it better; rather it turns characters into cutouts and distracts from the ideas it means to promote…. theater makers should have enough faith in the principles of equity and diversity to let them speak for themselves. Are they not, as someone once put it, self-evident?
But of course equity and diversity are not self-evident, and the complete confusion over casting ethics demonstrates this fact beautifully. Let’s see: BIPOC performers can be cast as anyone, regardless of color, ethnicity, gender or race, but white performers can only play white characters. Turning a white fictional character black is to be desired whenever possible (Tangent: My CVS is filled with black Santa dolls and images. Where are the Hispanic and Asian Santas?) but making a fictional character of color (a FCOC) white is “white-washing,” and racist. “The Simpsons” won’t allow white vocal actors to do the voices of a black doctor or an Indian 7-11 owner, but Will Smith can voice a Middle Eastern genie without controversy. Ariel the Little Mermaid will be sung by a black actress; true, they turned Arial black first, but don’t think the same actress wouldn’t have voiced her if they hadn’t: Diversity! Inclusion! Meanwhile, Tom Hanks said it was wrong for him to be cast as a gay man, though gay men portray about 50% of all the heterosexuals you see on screen and stage.
Clear? Of course not! These aren’t rules or principles: this is racially motivated Calvinball, compensatory racism and related discrimination under the cloak of imaginary virtue.
And yet we hadn’t reached peak stupid yet. Is this latest episode it? Probably not, but behold: Continue reading →
You can be forgiven if you haven’t followed the massive Broadway crack-up saga of the “Funny Girl” revival; after all, Broadway is an elite, increasingly culturally irrelevant dinosaur where 80% of those on stage are gay, 90% of those in those in audience can afford hundred dollar tickets, and half of the shows first premiered when Joe Biden was in braces. You can be excused even more if you missed the massive ethics scandal at the crack-up’s core; after all, most theater reporters have no ethics alarms, just like most theater professionals. Still, to quote a character in an ancient Broadway classic that had an significant ethical impact, “Attention must be paid.”
“We condemn in the strongest possible terms the creation and distribution of photographs and videos of our members during a nude scene. As actors, we regularly agree to be vulnerable onstage in order to tell difficult and challenging stories. This does not mean that we agree to have those vulnerable moments widely shared by anyone who feels like sneaking a recording device into the theater. Whoever did this knew not only that they were filming actors without their consent, but also that they were explicitly violating the theater’s prohibition on recording and distribution.
“At every performance, there is a mutual understanding between the audience and the performers that we are sharing an experience limited to this time and place; that trust makes it possible for us to be exposed both emotionally and physically. Trampling on this agreement by capturing and distributing these photographs and videos is both sexual harassment and an appalling breach of consent. It is a violation that impedes our collective ability to tell stories with boldness and bravery.”
This completely accurate statement was prompted by an audience member taking forbidden photos of former “Grey’s Anatomy” star Jesse Williams during in a nude scene in the Broadway revival of “Take Me Out” and putting them online. The theater, Second Stage, also made a public statement condemning the conduct.
2. “The theater is a temple of virtue signaling! Bow, peasant!” Patti Lupone, long-time Broadway diva and the original “Evita” (in the musical, that is) confronted an audience member from the stage as she performed in the Broadway revival of “Company.” The audience member was wearing her mask below her nose.
Of course LuPone wasn’t wearing a mask at all, but never mind. Those are the rules on Broadway. “Put your mask over your nose, that’s why you’re in the theater!” she lectured, obviously breaking character. “That is the rule. If you don’t want to follow the rule, get the fuck out! Who do you think you are that you do not respect the people that are sitting around you!”
Then the audience cheered, because they are mostly Good Germans who put up with the garbage edicts of the reliably progressive virtue-signalling theaters and pay absurd amounts of money to sit in discomfort wearing useless cloth masks. I suspect that the audience member had the mask down below the nose because glasses fog up otherwise, and it’s really stupid to pay over a hundred bucks to sit in a dark theater blind. In Patti’s defense, masks are the rule, the House makes the rules, and she was technically correct that the target of her abuse was breaking them. On the other side of the ledger, it’s not her job to enforce the rules, and though audiences love seeing anything out of the ordinary like av actress berating a patron, LuPone sacrificed the performance to indulge her grandstanding. She has no respect, clearly, for the audience or her fellow cast members.
If I were the mask-felon, I would have left, and sorely tempted to shout out, “You’re the one who should be masked with that mug!”
On October 24, 1945, the United Nations Charter became effective, marking this date as the international organization’s official birthday. What a disappointment the U.N. has been! The idea of a body made up of representatives of the nations of the world dedicated to promoting peace and mutual cooperation for the good of humanity was always a quixotic and probably doomed mission, one shared by the U.N.’s ill-conceived predecessor, Woodrow Wilson’s League of Nations.
I am old enough, however, to remember when the American public believed in and respected the U.N. Its meetings were broadcast regularly by PBS; the U.N’s second Secretary-General Dag Hammarskjöld was one of the world’s most admired men, and the U.S. ambassador to the U.N., Henry Cabot Lodge, Jr. (ironically, since his father had effectively killed the League of Nations by blocking the U.S.’s membership in the new body in the Senate), was immensely popular. The U.N. has had its moments, notably during the Cuban Missile Crisis in 1962, but it squandered the public’s trust with outrageous committee appointments, placing brazen human rights violators on its Human Rights Council for example (currently Russia, China and Cuba are members), persistent efforts at world government, which is and should always be an offense to the U.S. Constitution, and corruption at the highest levels that have become impossible to excuse. Today the United Nations’ existence is largely symbolic. Maybe that’s enough to justify the expense, but we once thought the United Nations would be so much more.
1. Searching for an ethical newsaggregator...but I can’t find one. I visited the Drudge Report for the first time in months, and saw this link: FACEBOOK Faulted by Staff Over Insurrection…
Drudge has been abandoned by many conservatives over the site’s decision to spin anti-Trump, but continuing to call the January 6 riot an “insurrection” after the FBI’s report conclusively showed it wasn’t one is signature significance for a propaganda site. Over at the aggregator that has snatched away Drudge’s Trump-supporting audience, Citizen Free Press, the coverage of the unfolding Alec Baldwin gunfire accident includes this headline: “PHOTOS — This is the woman Alec Baldwin put in charge of firearms for his low budget film…” and this image of the film’s armorist:
Oh, I see! Based on her looks, we know she must have been incompetent! This is nothing but bigotry, and it is why so many people detest conservatives.
2. Until more people show some courage and principles, this kind of thing will only become more frequent and get worse. Witness the revolting development from Coastal Carolina University. The College Fix reports:
“On September 16, students filed into a classroom, and some students noted the names of several students of color were written on a whiteboard at the front of the class. Thinking this was some sort of list singling out minority students, the offended students planned a campus protest on September 21 instead of going to class.But the names were actually part of a list of students who may want to hang out together, drawn up by a visiting artist who had been counseling two students of color after the previous class. One of the students had said she felt isolated and wanted to get to know other minority students in the theater department, so the group brainstormed a list of potential friends. The school later admitted the list was “a resource for newer students who are looking to be in community with other BIPOC students.”
Never mind; Facts Don’t Matter! The school apologized to the mistakenly offended students with a statement that “faculty and students involved as well as the Theatre Department as a whole are deeply sorry to anyone who was affected by this incident.” That’s right: the school apologized to the students for the students leaping to conclusions and protesting before they knew what they were protesting about. Not only that, the visiting artist who created the list to help the minority students also apologized, calling her actions “thoughtless and careless.” Yes, it is certainly careless to assume that students in the era of The Great Stupid will be capable of being fair, responsible, and reasonable when they have unlimited power to make administrators and instructors lick their metaphorical boots on a whim.
Ethics Alarms 