#patti lupone

[broadwaydivastournament]

Broadway Divas Tournament: Round 4

It's been a little too relaxed around here these last few weeks. Very few wars, very few vicious fights among Diva fans. So. We're back to where we began with Bernadette vs. Patti and now Lea Salonga in the pit. If Lea hasn't been tossed back in after losing to Christine Baranski Round One, I'm confident my beloved Kelli O'Hara would have made it to Round 4 (and then been summarily eviscerated by Bernadette). So, to avenge my darling blonde soprano (a dying breed), here she is boys, here she is world, here's Patti.

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Lea Salonga (1971) made history in 1991 as the first Asian performer to ever win Best Leading Actress in a Musical for Miss Saigon. She was just twenty years old at the time, the second youngest, and now all these years later, she qualifies for our MILF tournament. Lea has starred in six Broadway shows including Les Miserables (as first Eponine and then later Fantine), Once On This Island (2017), and most recently a brief stint in Here Lies Love (2023). She is also the singing voice for Disney's Mulan.

Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity. Despite that, she will reportedly be back on Broadway next season in a straight play.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"Time to prove that this is the Bernadette Peters website. Let's go, lesbians, let's go."

"She may have had a second chance at winning, but we've got to make things fair. Let's see how she does up against not one, but two of Broadway's biggest Divas."

"Just like her Broadway career, Patti LuPone rises from the dead. She's just here for the extra chaos, and I cannot wait to see the results."

[marybeatriceofmodena]

What did Andrew Lloyd Webber do to make Patti Lupone upset? Sorry, saw your tags and i was curious

Oh.

Oh honey.

You sweet child.

Anyway, get ready for one of the most infamous showdowns in all musical theatre history, with the guy who writes the straightest musicals on Broadway (derogatory) and the one and only, the matriarch, the queen, two three-time Tony award winner Patti LuPone.

So, Andrew Lloyd Webber was basically kind of a boy genius in his prime - he met his future collaborator Tim Rice when they were 17 and 20 respectively, he wrote his first big hit, Jesus Christ Superstar, at 22, with Tim Rice writing the lyrics. And it was kind of a big deal at the time because the topic was controversial (you know, the Passion with rock music), but also because Broadway wasn't that far off from its golden age and let's just say the music and style were very different from, say, My Fair Lady. Or The Sound of Music. Or Funny Girl. It was basically the Rent/Hamilton of its time. (Yeah, Stephen Sondheim was around at that time, he worked on West Side Story which was revolutionary in of itself, but he's kind of an oddball in this case. You'll understand why later.)

Their real follow up (I'm not counting Joseph and the Amazing Technicolor Dreamcoat for a variety of reasons) was a little musical called Evita, which you might know mainly because of a song called Don't Cry For Me Argentina. Or at least, your mom has probably heard it once at the very least. It's that song that's oversung from a musical while being out of context along with I Dreamed a Dream for Les Misérables. Or Memory from Cats.

Evita tells the story of Eva Peron, the wife of an Argentinian dictator, who basically screws her way to the top and ends up becoming the mistress of Juan Peron and the most beloved woman in her country through guile and deceit. Yes, I know the historical accuracy is very much debated but I know jackshit about Argentina's history except the bare basics so don't come at me. It was first produced in the West End in London, with Elaine Paige in the role, but because of Equity issues, she couldn't reprise her role for the Broadway production. So a Julliard graduate who was mostly starring in David Mamet plays got the part instead, and that was Patti LuPone.

Patti... did not have a good time during Evita, because the part is basically the kind of score where you can tell the composer is used to writing male parts, but most female singers have a two-octave range (yes, you got Julie Andrews who used to have a three-octave range, and many others, but they're exceptions), so she struggled a lot. That being said, if you listen to live recordings of her, you wouldn't be able to tell, and it got a lot easier later on. But she had this to say:

"Evita was the worst experience of my life. I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee."

This is from Patti's autobiography, which she wrote in 2007 - 8 years after shit with ALW went down. With all that said, she won a Tony Award for Evita, and she pretty much became a musical theatre household name from then on. She played Fantine in Les Misérables, Nancy in Oliver!, Reno Sweeney in Anything Goes. Meanwhile, ALW's next big hits were Cats (I'm not even kidding, Cats was a hit), and, you guessed it, The Phantom of the Opera, which he wrote in part to showcase his then wife Sarah Brightman's triple threat talents.

So, you need to understand before I continue that ALW, from my perspective, has always had a bit of an inferiority complex. He's basically associated to writing these commercially successful musicals that show a big spectacle but aren't ultimately substantial. I'm not sure I entirely agree with that, but I do think that if he didn't have Hal Prince, Maria Bjornson, Charles Hart and Gillian Lynne backing him up for Phantom, it would have probably been a Rocky Horror Picture Show knockoff people would have forgotten about pretty quickly. This is what I mean:

Yep, that was Phantom before any of the people I mentioned above (and Michael Crawford) were really involved.

Remember how I said Stephen Sondheim was an oddball? The thing with him is that his musicals weren't always commercially successful, but in general, in part thanks to being Leonard Bernstein's protégé, he was generally pretty well-respected and it was considered that his work was bringing musicals to a whole other level. Without Sondheim, you wouldn't have Jonathan Larson, and you wouldn't have Lin-Manuel Miranda. I am convinced ALW is resentful of that, and when you stop and think about it for more than 10 seconds, it's so obvious he REALLY wants to be Sondheim or at least command the same level of respect, but that's a story for another day.

So, after Phantom, ALW had other musicals that followed that either got a meh reception or outright flopped. Then there was Sunset Boulevard, which is based on the movie of the same name with Gloria Swanson. Despite all of her griefs for Evita, Patti LuPone agreed to partake in the musical as Norma Desmond, for its production in London, with the promise that she would transfer to Broadway once that production would open. And overall, after a string of flops, Sunset was actually doing pretty well.

HOWEVER. One day, while reading the gossip column of a newspaper, Patti found out that contrary to what she was promised, Glenn Close, who was meanwhile starring as Norma in the Los Angeles production, was to play Norma on Broadway. That was a complete surprise for her since no one on the production team had bothered to tell her it was happening - and keep in mind that for the news to come up the way it did in a gossip column, it probably would have necessitated a delay of a few weeks between the producers and the newspaper, which would have given them plenty of time to break the news to Patti. And Patti kind of needed the leg up because she was pretty bitter that a) Madonna was cast in the Evita adaptation instead of her; b) they actually lowered the key to fit Madonna's voice range, and she still had to expand her own to be able to sing the (lowered) score. And trust me, Patti is mad about it to this day.

So of course, she trashed her dressing room, the cast and crew weren't even mad about it because they were as shocked and angered as she was by the news. Patti sued Andrew Lloyd Webber for breach of contract, namely for 1 MILLION DOLLARS (yup, those are the real numbers), won, used the money she got from the lawsuit to get a swimming pool, which she called (and I SHIT YOU NOT) the Andrew Lloyd Webber Memorial Pool. Since then, Webber is dead to her, to the point rumor has it she had part of a building blocked during an event so she could get out of it without coming across Webber, because she hates him so flipping much she doesn't even want to be in the same building as the guy.

(There's also drama that happened with Faye Dunaway who was supposed to replace Glenn Close after she went from Los Angeles to Broadway, except they abruptly closed the show down after Close left, but that's a story for another day)

So with all the bad press, and with ALW forced to pay 1 million dollars for Patti's lawsuit, that led Sunset's productions to close earlier than expected. ALW has stayed around since, with... mitigated output, so to say. The lowest point for a lot of people is Love Never Dies, the sequel to Phantom, which some people love, and that's fine, but it didn't do well with either critics nor fans of the original show, which ALW is EXTREMELY BUTTHURT ABOUT. And like, there are so many stories I could tell about LND alone, but I will share my own crack theory about it, since it does relate to the ask.

Anyway, buckle up.

So. There have been jokes going around for years that the Phantom in LND is basically ALW's self-insert, where he displays to the world that he's totally not over Sarah Brightman leaving him (in part because making Phantom kinda ruined their marriage lmao), despite, you know, having married since. (Aaaaaakward.) So LND basically becomes this really uncomfortable therapy session where a man writes a self-insert musical about how his ex-wife made a big mistake of leaving a sensitive artistic soul such as himself. The characters from Phantom who appear in LND are all more or less unrecognizable as a result, and one who gets it worse (in my humble opinion) is Meg Giry, who was basically Christine's sweet and loyal ballerina friend who basically went into the Phantom's lair on her own to save her friend despite the danger. In LND, she's basically a bitter hag (because ALW hates women, guess Patti was right about that), who really likes the swim and even has a stripping vaudeville number about it, written in universe by the Phantom, no less.

For comparison, here's Don Juan Triumphant (the Phantom's opera in the original):

And here's Bathing Beauty (the vaudeville number):

Yeah, so... do you see why people hate LND already?

And that's not the only thing with Meg! She's also pining for the Phantom to pay attention to her and threatens to drown the Phantom and Christine's secret love child when he makes it clear that he's gonna love Christine for EVA AND EVA.

So, with everything we learned today about ALW, would someone like him view someone like Patti LuPone as some sort of crazy, bitter diva who's obsessed with him for whatever reason? Absolutely. Would he be petty enough to insert Patti LuPone into his self-insert musical, which gave us the version of Meg Giry we got in LND? Of course. Why does Meg love to swim so much and why does she drag Gustave out ostensibly for a swim? Is it a dig at Patti's Andrew Lloyd Webber Memorial Pool? Maybe.

I kind of hope we find out one day if that theory is true. And maybe start a kickstarter so Patti can add this painting from the 2004 movie in her collection.

Fun fact: during the process of casting for the 2004 movie adaptation of POTO, ALW allegedly suggested Patti LuPone to play Carlotta... only for Joel Schumacher to have to awkwardly remind him that they were not on speaking terms. The idea was therefore promptly dropped.

[you-belong-among-wildflowers]

Celebrity Barbies → Icons of Music Series

↳ Part 1 Featuring:

Dolly Parton, “The Queen of Country Music”

Patti Smith, “The Godmother of Punk

Stevie Nicks, “The Queen of Rock”

Madonna, “The Queen of Pop

Patti LuPone, “The Queen of Broadway”

Joan Baez, “The Queen of Folk”

[violetheart77]

I’ve seen the lights go out on Broadway

[cometomecosette]

A rare photo of Colm Wilkinson as Jean Valjean and Patti LuPone as Fantine, 1985

[lunarhobbits]

the angstier sequel to this, this time comparing lovett's part in the final scene:

[gaybichon]

patti lupone "does anyone still wear a hat" compilation (feat. the late great elaine stritch 🙏)

[thegoldenretrieverandthegaynerd]

Patti Lupone came to see Joe in Sweeney last night! Can’t believe she thought no one would know who she was at stage door, is she for real 😂

[broadwayinabox]

The “A Little Priest” dress I’m making for Patti Lupone’s concert is taking shape!

[lin-archive]

[broadwaydivastournament]

Broadway Divas Tournament: Round 1D

This is a Titan vs. Titan fight and I apologize for nothing. I woke up and chose violence throughout this entire poll.

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity.

PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

Pictured Annie Get Your Gun (Annie Oakley), Gypsy (Mama Rose), A Little Night Music (Desiree Armfeldt)

"Do I even need to write propaganda for these women? Do they not speak for themselves? Very well. Bernadette Peters in Cinderella (1997) was my very first, official, undisputed gay awakening. I was three, and enamored with the stepmother. This would prove to be a blueprint in my life, and well, here we are, twenty-some-odd years later, with a thing for stage actresses who play redheaded stepmothers in various Cinderella adaptations. It's a surprisingly common phenomenon."

Pictured Annie Get Your Gun (Annie Oakley), Gypsy (Mama Rose), A Little Night Music (Desiree Armfeldt)

"This woman can breech the sound barrier. The reverberation she gets on that one note in her Anything Goes Tony performance physically rearranges every atom in my body every time I hear it. Patti is THE definition of a Broadway Diva, with more than just a little touch of star quality. Her 54 Below show was an absolute riot from start to finish."

-photo submitted by anon.

(Please note, dear voters, that the above quote is from a clickhole article, and Patti LuPone never actually said it, but it would be on-brand of her if she had.)

[church-of-lilith]

We got a leaked first look at Agatha: Darkhold Diaries and I need to speak to another gay person about this immediately

[jgroffdaily]

Patti LuPone backstage at Merrily on Thursday, posted by Krystal Joy Brown. Also backstage to meet the cast was Woody Harrelson, Betty Who and Theo Stockman.

[musicalcastingideas]

Gender fucked Hamilton

This came to me in a dream. I will not offer any explanations for these. Enjoy.

Alexander Hamilton: Eva Nobelzada

Aaron Burr: Amber Gray

Laurens/Hamilton Jr: Solea Pfeiffer

Lafayette/Jefferson: Renee Elise Goldsberry

Mulligan/Madison: Genesis Lynea

Eliza Hamilton: Jordan Fisher

Angelica Schuyler: George Salazar

Peggy/Maria Reynolds: Vincent Rodriguez III

Washington: Audra McDonald

King George: Patti LuPone

Samuel Seabury: Annaleigh Ashford

[partywithponies]

The original London cast recording of Les Mis will always be my favourite if only because no-one does I Dreamed A Dream like Patti LuPone and no-one does Stars like Roger Allam. Patti and Roger just turn up on stage, serve severe cunt, and then casually leave like they didn't just change lives, and I respect that.

[dreaminginthedeepsouth]

“When I would tell students to look at people, I knew it was hard for them to remember. They were young and starting their lives. They were going to see things and dating and having adventures. Fine, I would tell them, but look at everything. In every situation, including those in which you have a part. Actors need to be—and usually become—so sensitive to emotions that they can tell when someone is lying. To them or to others. A sort of extrasensory perception arises, and I’ve seen people on the bus or on the street, and I almost feel that I know just what they’re thinking and going through. I remember going to see Patti LuPone in The Woods. [A play by David Mamet that was done at Second Stage in 1982, where Marian saw it.] I had worked with Patti so much, and I had so much respect for her, and even as I felt I could see how she applied so much to her part, I was still not prepared for the effect it had on me.

Patti has an ability to allow us to feel that we have witnessed an emotional autopsy on her. She is unafraid to just expose herself, and in that play she was both angry and distorted by this emotion, and then resplendent in her love and joy. I felt at one point that I was witnessing her having a real orgasm on that stage, and perhaps I was witnessing her memory of pure ecstasy, which she pushed out from her being. I have always loved how Patti looks, but there was a moment in that play in which she became resplendent. It was like she had a dozen light bulbs inside of her, and they all switched on at the same time. I’m not going to ask Patti what she was thinking, what she was applying, but I will never forget that performance."

--Marian Seldes on Patti LuPone

(Follies of God)