She is the author of "Patti LuPone: A Memoir."
Early life
LuPone is of Italian (Sicilian [1]) descent. [2] She is a graduate of Northport High School. LuPone was part of the first graduating class of Juilliard’s Drama Division.
Theatre
In 1972 John Houseman took his beloved class and formed The Acting Company, making them America’s foremost nationally touring repertory theater company. Her stint with the Acting Company lasted from 1972 to 1976, and she was featured in such works as The School for Scandal, Women Beware Women, The Beggar’s Opera, The Time of Your Life, The Lower Depths, The Hostage, Next Time I’ll Sing to You, Measure for Measure, Scapin, Edward II, The Orchestra, Love’s Labours Lost, Arms and the Man, The Way of the World, and The Robber Bridegroom, for which she received a Tony Award nomination. In 1986, alumni members of The Acting Company joined forces for a West End revival of The Cradle Will Rock in which LuPone played Moll, and for which she received an Olivier Award. Ms. LuPone is an important player in contemporary American musical theater. She made her Broadway debut in the play Three Sisters Her first leading role in a musical was The Baker’s Wife, which did not make it to NYC. She has performed on Broadway in works by Andrew Lloyd Webber, Stephen Sondheim and others. She won a Tony Award for Evita in 1980.
In 1987, LuPone landed the role of Reno Sweeney in the Broadway revival of Anything Goes, for which she won the Drama Desk Award for Best Actress in a Musical. LuPone’s return to Broadway was supposed to be with the musical Sunset Boulevard, however Andrew Lloyd Webber breached LuPone’s contract by recasting her role for the New York production. LuPone subsequently sued Webber, but the two settled the dispute out of court with a hefty settlement in favor of LuPone. After this LuPone was so disappointed, it took her a year to return to the stage. In 1996, LuPone returned to Broadway in a triumphant fashion in a concert style celebration of her career called Patti LuPone on Broadway for which she received an Outer Critics Circle Award for Outstanding Solo Performance. Also in 1996 LuPone was asked to replace Zoe Caldwell in the Terrance McNally play, Master Class for which she received rave reviews and later performed in the West End. In 2001 she starred along side Peter Gallagher in the Broadway revival of Noises Off. Other Broadway credits include Working (1978), Oliver! (1984), and Accidental Death of an Anarchist (1982).
LuPone has worked with David Mamet since 1977, acting in his plays, including The Woods (1977), All Men Are Whores (1977), The Blue Hour (1978) The Water Engine (1978), Edmund (1982), and The Old Neighborhood (1997)
Ms. LuPone has been a part of many semi-staged concerts of musicals in New York such as the Encores! production of Pal Joey (1994) opposite Peter Gallagher and Bebe Neuwirth; Sweeney Todd (2000) opposite George Hearn and Audra McDonald; Can-Can (2004) opposite Michael Nouri; Candide opposite Kristin Chenoweth; and Passion (2005) opposite Michael Cerveris and Audra McDonald.
LuPone’s triumphs in the opera world extend to Kennedy Center’s production of Regina, The world premier of Jake Heggie's To Hell and Back, and the Rise and Fall of the City of Mahagonny opposite long time friend Audra McDonald and directed by John Doyle with the Los Angeles Opera.
She has three one-woman shows that she performs across the country: Matters of the Heart, Coulda, Woulda, Shoulda, and The Lady With the Torch, which sold out Carnegie Hall.
She originated the role of Fantine in the Royal Shakespeare production of the musical Les Misérables, becoming the first American actress to win the Olivier Award. LuPone returned to the London to portray Norma Desmond in Andrew Lloyd Webber’s Sunset Boulevard in the West End.
LuPone recently starred on Broadway as Mrs. Lovett in John Doyle’s new staging of Sweeney Todd, the Demon Barber of Fleet Street. Ms. LuPone was nominated for a Tony Award for this role.
A regular star at the Ravinia Festival’s annual Sondheim concerts in Highland Park, IL, Ms. LuPone has had starring turns in Stephen Sondheim’s Sweeney Todd (2001), A Little Night Music (2002), Passion (2003), Sunday in the Park with George (2004), Anyone Can Whistle (2005), and Gypsy (2006).
With her unanimously rave reviews from the Ravinia production of Gypsy, LuPone was offered the opportunity to star in a new production of Gypsy, directed by Arthur Laurents, who had directed Tyne Daly and Angela Lansbury in previous Broadway revivals. This production launched a new Broadway performance series, Encores! Summer Stars, a spin-off of the popular Encores! series. The Encores! Summer Stars production of Gypsy is scheduled to open July 9, 2007.
Film
Among LuPone’s film credits are Witness, Just Looking, The Victim, Summer of Sam, Driving Miss Daisy, King of Gypsies, 1941, 'Wise Guys, 24 Hour Woman, Family Prayers, Bad Faith, and City By The Sea. She has also worked with legendary playwright David Mamet on several movies including , (The Water Engine, the critically acclaimed State and Main, and Heist).
Television
LuPone played Libby Thatcher on the television drama Life Goes On, which ran on ABC from 1989 to 1993. She has twice been nominated for an Emmy Award for the TV movie The Song Spinner, and her guest appearance on Frasier. LuPone’s further TV career includes a recurring spot on the last season of HBO’s hit series Oz. She had a cameo as herself in the episode of Saturday Night Live hosted by Kelsey Grammer in 1998. She also played herself in an episode of Will and Grace entitled "BullyWoolley" 2005. She also appeared on the series "Ugly Betty" in 2007 as Mrs. Jean Wiener, the mother of Wilhelmina's secretary, Mark.
Known for her range and versatility, she once played Lady Bird Johnson opposite Randy Quaid’s Lyndon B. Johnson in the television movie, LBJ.
Recordings
LuPone recorded a duet with Seth MacFarlane (in character as Glenn Quagmire) on the 2005 album Family Guy: Live In Vegas.
LuPone released a new CD in 2006, of one of her shows The Lady with the Torch, on Sh-k-Boom Records. In December she released bonus tracks for that CD only on iTunes.
Selected recordings include:
The Baker’s Wife (Original cast recording)
Evita (Original Broadway cast recording)
The Cradle Will Rock (The Acting Company recording)
Les Miserables (Royal Shakespeare Company recording)
Anything Goes (Lincoln Center Theater recording)
Heat Wave (John Mauceri conducting the Hollywood Bowl Orchestra)
Patti LuPone Live (Solo Album)
Sunset Boulevard (World premiere/original London cast recording)
Matters of the Heart (Solo Album)
Sweeney Todd (New York Philharmonic recording)
Sweeney Todd (2005 Broadway Cast recording)
The Lady with the Torch (Solo Album)
The Lady With the Torch...Still Burning (Solo Album)
To Hell and Back (Philharmonia Baroque Orchestra World Premier recording)
Personal life
Her first name, Patti, is not short for “Patricia”; it is her mother’s maiden name. LuPone’s great-grand-aunt was the celebrated 19th-century opera singer Adelina Patti. Her brother is actor, dancer, and director Robert LuPone, and her other brother William is a teacher. When they were young they performed on Long Island as the LuPone Trio.
She had a long-term relationship with fellow Juilliard classmate Kevin Kline.
She married Matthew Johnston in 1988 on the Vivian Beaumont Stage at Lincoln Center after filming the TV movie LBJ, they had one child on 21 November 1990, Joshua Luke Johnston.
She currently resides with her family in upstate Connecticut.
Source: Wikipedia
The Ladies Who Lunch
Patti LuPone Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Here's to the ladies who lunch
Everybody laugh
Lounging in their caftans and planning a brunch
On their own behalf
Off to the gym, then to a fitting
Claiming they're fat
And looking grim 'cause they've been sitting
Does anyone still wear a hat?
I'll drink to that
Here's to the girls who stay smart
Aren't they a gas?
Rushing to their classes in optical art
Wishing it would pass
Another long exhausting day
Another thousand dollars
A matinee, a Pinter play
Perhaps a piece of Mahler's
I'll drink to that
And one for Mahler
Here's to the girls in the prime
Aren't they too much?
Keeping house but clutching a copy of time
Just to keep in touch
The ones who follow the rules
And meet themselves at the schools
Too busy to know that they're fools
Aren't they a gem?
I'll drink to them
Let's all drink to them
And here's to the girls who just watch
Aren't they the best?
When they get depressed, it's a bottle of Scotch
Plus a little jest
Another chance to disapprove
Another brilliant zinger
Another reason not to move
Another vodka stinger
Ahh
I'll drink to that
So here's to the girls on the go
Everybody tries
Look into their eyes and you'll see what they know
Everybody dies
A toast to that invincible bunch
The dinosaurs surviving the crunch
Let's hear it for the ladies who lunch
Everybody rise, rise
Rise, rise
Rise, rise
Rise, rise
Rise
Patti LuPone's "The Ladies Who Lunch" is a satirical reflection on women in high society who have everything they could ever want but still lead unfulfilling lives. The song begins with the singer toasting to the ladies who lunch, who spend their days lounging in their caftans and planning brunches on their own behalf. The singer drinks to the women who spend their days going to the gym and shopping, only to complain about being fat and feeling unattractive. The singer also muses on the culture of hat-wearing, questioning whether anyone still wears hats.
The singer then toasts to the girls who stay smart and rush to their classes, but are still exhausted by the end of the day. These women spend thousands of dollars on entertainment like matinees and Pinter plays or listen to classical music like Mahler, and also lead unfulfilling lives. Next, the singer drinks to the girls in their prime who keep house but remain in touch with society through reading Time magazine. Some of these women follow the rules and meet at schools, never stopping to question their lives.
The song takes an amusing turn as the singer toasts to the girls who just watch, and who are the best because they know when to get depressed and when to have Scotch and a little jest. These women often disapprove of others and have clever zingers. Lastly, the singer encourages everyone to rise and toast to the ladies on the go - the dinosaurs surviving the crunch. These women keep going, surviving in their own way.
Line by Line Meaning
I'd like to propose a toast
I want to raise a glass to honor a certain group of ladies.
Here's to the ladies who lunch
Let's drink to the wealthy women who spend their midday meals at fancy restaurants.
Everybody laugh
Everyone has a light-hearted time socializing and enjoying themselves.
Lounging in their caftans and planning a brunch
These women are dressed in flowing garments and making arrangements for a leisurely morning meal.
On their own behalf
They are doing this for their own enjoyment and benefit.
Off to the gym, then to a fitting
These women move on to exercise and then to trying on clothing for an upcoming event.
Claiming they're fat
They express discontent with their bodies and in need of weight loss and toning.
And looking grim 'cause they've been sitting
Their inactive lifestyle has led to a somber mood and appearance.
Choosing a hat
To complete their stylish outfits, these women are selecting an appropriate headpiece.
Does anyone still wear a hat?
The singer questions the continued popularity of headwear and its cultural relevance.
I'll drink to that
The songstress celebrates this glamorous lifestyle with another sip of alcohol.
Here's to the girls who stay smart
The chorus raises a toast to intelligent women who make smart choices in their lives.
Aren't they a gas?
The ladies in question are incredibly entertaining and delightful.
Rushing to their classes in optical art
These intelligent women are hurrying to gather more knowledge in the field of visual art.
Wishing it would pass
Even these accomplished women sometimes tire of their academic pursuits and wish for something different.
Another long exhausting day
These dedicated students have been working hard and have spent many hours in research and studying.
Another thousand dollars
They pay a high price for their education, both in terms of the cost of tuition and their time and energy.
A matinee, a Pinter play
These well-educated women seek out high culture in the form of daytime theater performances.
Perhaps a piece of Mahler's
They may attend an orchestral performance featuring the music of composer Gustav Mahler, known for his emotionally rich and complex compositions.
And one for Mahler
The singer raises a glass to the great composer and his contributions to music.
Here's to the girls in the prime
The next group of women toasted are those in the height of their lives and careers.
Aren't they too much?
These women are vibrant and full of life, and their achievements are impressive and admirable.
Keeping house but clutching a copy of time
Even though they have responsibilities as homemakers, these women are also highly informed and engaged in current events and intellectual pursuits.
Just to keep in touch
They make an effort to be up-to-date and informed about important topics and events.
The ones who follow the rules
Despite their intellectual interests, these women also adhere to societal norms and expectations.
And meet themselves at the schools
They attend social events and gatherings of fellow intellectuals in order to network and continue learning.
Too busy to know that they're fools
Although these women are highly intelligent, they may become too caught up in their own lives and work to fully comprehend broader society and cultural trends.
Aren't they a gem?
Despite any flaws, these women are still impressive and valuable in their own ways.
I'll drink to them
The singer shows appreciation and respect for these accomplished and impressive women.
Let's all drink to them
The rest of the attending party echoes the singer's sentiments and agrees to raise a glass to these accomplished women.
And here's to the girls who just watch
The next group of women recognized are those who may not be active participants in the glamor and sophistication celebrated by the other groups in the song.
Aren't they the best?
Despite not being the most glamorous or high-achieving, these women still carry value and worth.
When they get depressed, it's a bottle of Scotch
These women may not have the means or desire to go out and experience the scene celebrated by the other groups, and instead may turn to alcohol to cope with sadness or dissatisfaction.
Plus a little jest
Despite times of sadness or difficulty, these women are still able to find humor and laughter in life.
Another chance to disapprove
These women may feel disapproved of or judged by the other groups for their different lifestyle and interests.
Another brilliant zinger
Despite these disapproving comments or attitudes, these women are still quick-witted and capable of firing back snappy comebacks.
Another reason not to move
These women may not have the energy or inclination to actively engage in the fast-paced lifestyle celebrated by the other groups in the song.
Another vodka stinger
Despite this inactivity, they still can partake in alcohol to help them cope with life's stressors and struggles.
Ahh
This is an exclamation of relief or enjoyment that punctuates the previous lines of the song.
I'll drink to that
The singer celebrates and toasts to the different lifestyles and values of the various groups of women mentioned in the song.
So here's to the girls on the go
The final group toasted are those women who lead busy, active lives and are always on the move.
Everybody tries
Everyone in attendance makes an effort to support and appreciate these women for their commitment and hard work.
Look into their eyes and you'll see what they know
These women have lived full and exciting lives and have gained much knowledge and experience through their various pursuits and experiences.
Everybody dies
Despite all of these different lifestyles and accomplishments, everyone in attendance is reminded that we will all face our mortality eventually.
A toast to that invincible bunch
The final toast is given to those who have managed to surmount life's challenges and are still triumphing, despite their mortality.
The dinosaurs surviving the crunch
This phrase serves as a metaphor for those who have persevered in spite of difficulties and obstacles in life, continuing on with determination and strength.
Let's hear it for the ladies who lunch
This is a final call to raise a glass and show appreciation for all of the different types of women celebrated throughout the song, including those who enjoy a glamorous lifestyle of lunches and fine drinks.
Everybody rise, rise
This is an exclamation of praise and admiration for everyone who has been celebrated throughout the course of the song.
Rise, rise
This repeated phrase emphasizes the positive energy and celebratory atmosphere that pervades throughout the song.
Rise, rise
This final repetition is a call for everyone to rise and join in the general spirit of celebration and appreciation that has been established throughout the song.
Writer(s): Stephen Sondheim
Contributed by Nolan B. Suggest a correction in the comments below.
@someoneelsewhere9519
Here's to the ladies who lunch—
Everybody laugh.
Lounging in their caftans
And planning a brunch
On their own behalf.
Off to the gym,
Then to a fitting,
Claiming they're fat.
And looking grim,
'Cause they've been sitting
Choosing a hat.
Does anyone still wear a hat?
I'll drink to that.
And here's to the girls who stay smart—
Aren't they a gas?
Rushing to their classes
In optical art,
Wishing it would pass.
Another long exhausting day,
Another thousand dollars,
A matinee, a Pinter play,
Perhaps a piece of Mahler's.
I'll drink to that.
And one for Mahler!
And here's to the girls who play wife—
Aren't they too much?
Keeping house but clutching
A copy of LIFE,
Just to keep in touch.
The ones who follow the rules,
And meet themselves at the schools,
Too busy to know that they're fools.
Aren't they a gem?
I'll drink to them!
Let's all drink to them!
And here's to the girls who just watch—
Aren't they the best?
When they get depressed,
It's a bottle of Scotch,
Plus a little jest.
Another chance to disapprove,
Another brilliant zinger,
Another reason not to move,
Another vodka stinger.
Aaaaaaaaaaaaaaaahhhhhhhh!
I'll drink to that.
So here's to the girls on the go—
Everybody tries.
Look into their eyes,
And you'll see what they know:
Everybody dies.
A toast to that invincible bunch,
The dinosaurs surviving the crunch.
Let's hear it for the ladies who lunch--
Everybody rise!
Rise!
Rise! Rise! Rise! Rise! Rise! Rise!
Rise!
@Tytytytyty1776
Patti said in an interview that this was the only time she was ever nervous performing. And when Elaine embraced her at the end, she nearly was brought to tears.
@s_tomlin
the fact that you genuinely can't tell at all is mindblowing
@fedejr93
She doesn't seem nervous at all. When she steps to the front of the stage with that little grin saying "I'd like to propose a toast" it seems more like she knows she's going to slay that performance. Wonderful
@GaryMorin
@@fedejr93 and she does indeed slay it !
@Gamalielslay
Damn I wanna be nervous like her
@ar_t_lo
Elaine seemed more emotional than she was
@tracyroweauthor
career goals: singing Elaine Stritch's signature song in front of her and having her jump up at the end, grab you and tell you she's so proud of you.
@leslieivarson
agreed! full circle and pure magic.
@Saxshoe
"You've always been a disappointment, Jackie"
@holdyourhats
If Patti keeps a diary what do you think she wrote about that moment??