John Epperson: The Artist Principally Known as Lypsinka
John Epperson
The Artist Principally Known as Lypsinka
Joe’s Pub, NYC, September 16, 2016
Reviewed by Randolph B. Eigenbrode for Cabaret Scenes
For those acquainted with the notorious Lypsinka, there may be an expectation in regards to the type of performance you’d get from John Epperson, the artist who has performed the drag character over the last three decades. Known as the “Goddess of Show Biz,” adjectives like vibrant, grand and animated come to mind when thinking of the lip-syncing legend’s dynamic.
On Friday night, Epperson entered to little fanfare, clad in a simple green tailored jacket with underlying black turtleneck and slacks. Tall, with a fair complexion and grayish hair, his ordinary and muted appearance seemed hardly the Dolores Gray flair we’ve become accustomed to. He simply walked to the piano and began to accompany himself— no fuss, no frills. Indeed, he is a talented player with a simple, unadorned voice. After the first few songs, it occurs to one that it takes a certain pedigree of performer to self-accompany: a multi-tasker who is adept at storytelling, character embodiment and musicianship all at the same time. Epperson did not seem up for the task.
Then a funny thing happened. While revealing a song he wrote for an ’80s Pyramid Club musical entitled Dial ‘M’ for Model, Epperson began to have a slight glint in his eye and the wallflower began to fade away. The song, “He’s Got Designs on Me,” showcased a charming pastiche appeal—not surprising as Epperson admitted to fashioning it after Betty Comden and Adolph Green’s stylings—and the evening seemed to take on a lighter and more colorful tone.
A tribute to singer/writer Kay Thompson seemed to bring the best out of Epperson, particularly with a medley that included “Isn’t It Wonderful,” “Holiday Season” and “Think Pink,” among others (all words and lyrics by Kay Thompson). This unleashed a rogue playfulness from Epperson that truly demonstrated his mastery of the intellectual show-biz nature of Thompson’s material. Now allowing himself to be irreverent, his genius sparkled in a medley of songs he constructed for the (fantasy) cabaret act of Christine Jorgensen, trans icon. Tongue-in-cheek moments like “Wonderful Copenhagen” (Frank Loesser), “What Did I Have That I Don’t Have?” (Alan Jay Lerner/Burton Lane) and “I Enjoy Being a Girl” (Richard Rodgers/Oscar Hammerstein II), many of which had his own parody lyrics, were served to comic aplomb.
For his drag character fans there were a few lip-sync numbers and, indeed, the show’s joyous arc reached a zenith in a dramatic lipped finale of “What About Today?” (Richard Maltby, Jr./David Shire). However, Epperson’s most effective moment came after the histrionics when he simply returned to the piano and humbly delivered “Anyone Can Whistle” (Stephen Sondheim). No fuss, no frills.
Lypsinka has always been elegant, but, surprisingly enough, John Epperson is equally so. This show is a classy evening that brings color, story and joy and, like the many tiers of Lypsinka’s crinoline skirts, Epperson gradually reveals layers of himself with such wizardry that it makes one question why the world hasn’t seen more of his genius.
After last evening’s show, one can only hope that the cabaret world, at least, gets another helping of this green-jacket master.
Category: Cabaret Reviews, New York City, New York City Cabaret Reviews, Regional
