We went downtown to see the final performance of THE PASSION OF THE CRAWFORD, a show that we just couldn’t miss for two reasons. One, I met the co-star, Steve Cuiffo, last summer at Ricky Jay’s magic immersion weekend. Steve mentioned this piece from the stage and I made the mental note to see it next chance I got, because he then called out the second reason by name-checking the star, an old friend of mine from Mississippi theater days, John Epperson. John’s better known now by another name, as audience after audience screams with laughter and delight at the antics of his alter ego: the fabulous Lypsinka!
Calling Lypsinka a drag act is like calling Segovia a guitar player: it’s technically correct, but man, are you missing the point. What Lypsinka brings onstage tests the limits of a theatrical tradition and then explodes them. John Epperson isn’t just the best at what he does, he has no serious competition. That’s how five, six, ten years can pass between New York Lypsinka shows and her many fans, both gay and straight, will still be clamoring for tickets. Lypsinka rules, like the grande dame she is.
Drag itself is a venerable art form, and not only in gay-oriented places. For many years, “female impersonators” like Jim Bailey have been perfectly welcome in mainstream venues, including big Vegas rooms, the Sunday-night Ed Sullivan Show, even Carnegie Hall. I remember watching Bailey impersonate Garland, Streisand, or Phyllis Diller on Sullivan from my home in Jackson, Mississippi. About thirty miles away in a town called Hazlehurst, perhaps tuned to the same tv station, John Epperson was doing his best to cope.
John is years younger than I — discretion forbids the exact figure — and for his higher education he moved to Jackson and Belhaven College. I’d long since graduated from Millsaps College, two or three miles away. For years afterward, I used to tell people I had a “conservative-arts” education, bada-boom, but I kid Millsaps College. To a Mississippi just barely emerging from its Klan-ruled era, Millsaps (Methodist) looked, and felt, like Berkeley. Today it features MBAs and its own Phi Beta Kappa chapter. John’s Belhaven (Presbyterian), on the other hand, was the real deal: mandatory chapel, all of that. Not exactly the prime breeding spot for future underground musical comedy stars.
Because of the age difference, I didn’t meet John until after college, when I returned from Georgia and both of us hung around a troupe of local players at Jackson’s New Stage Theatre. I well remember a solo show John put up in the Hewes Room, a small performance space at the Jackson Little Theater. Just him and a piano. It must have been an early stab at what eventually became JOHN EPPERSON: SHOW TRASH (1), the makeup-free portion of LYPSINKA! THE TRILOGY, in which three of his already-established shows recently ran “in rep” for two months in New York. The other day, we saw THE PASSION OF THE CRAWFORD (2), to which I’ll return in a moment. The third piece was a full-blown Lypsinka show called LYPSINKA! THE BOXED SET (3). My favorite of such amazements is a long-ago production called I COULD GO ON LIP-SYNCHING! This is the uncut stuff that has made Lypsinka (like Cher, she’s fabulous enough to need only one name, but she is actually a scion of the Von Rasputinas) literally world-famous.
Every Lypsinka show requires its creator to produce not just one single miracle, but three of them. The first miraculous step is the prerecorded audio track. John assembles this personally, with an engineer (here, Alex Noyes). A typical Lypsinka piece employs hundreds of cues from radio, movies, tv, records, interviews, anything, all mashed into a bizarre lickety-split throughline that makes sense only in the performance. It’s far beyond simply lip-synching songs; a Lypsinka track is composed of tightly-cued bits of speech that play like music. About half of the CRAWFORD show reproduces the notorious interview conducted at New York’s Town Hall by public relations man John Springer on April 8, 1973, only weeks after Marlon Brando had sent a faux Indian to the stage to decline his Oscar for THE GODFATHER. While generational change is all around her, La Crawford is still living in the Forties, the obsequious audience applauds every mention of any past screen luminary, and this mindless adoration gets ever funnier as it continues. Then we have some shorter audio pieces, such as Miss Crawford reading the cloying but briefly trendy “Desiderata” on a tv appearance. Finally we descend into a major fantasia, with pantomimed telephones alternately ringing into her left and right ears to introduce lurid Joan Crawford snippets wrenched out of potboilers ranging from classics to STRAIGHT JACKET to TROG. This last surreal section is a full-throttle Lypsinka sound assembly, so artfully devised that it might kill all by itself just coming out of an iPod. But then you wouldn’t know where to look.
The second miracle is memorization. I would love to be a fly on the wall at rehearsals for a new Lypsinka piece, especially this one, which uniquely requires TWO lip-synching actors. Last summer at the Ricky Jay weekend, Steve Cuiffo — who plays Springer, every other interrogator, and even that classic announcer Dick Tufeld Speaking — discussed this show in that very sense. He described how lip-synching demands a radically different form of preparation than for a more traditional role. Here, timing is everything and the cues are instinctive. I imagine they must sound something like music, but without the reassurance of countable rhythm. Anybody can learn a play’s worth of dialogue, trust me. But there has to be a certain natural awareness by which John and Steve can memorize the pauses too. For many years John’s day job was as rehearsal pianist for American Ballet Theatre; you can see him in this capacity in a crucial scene in Darren Aronofsky’s film BLACK SWAN. Imagine the innate timekeeping ability required to support a classical dancer’s precision; he has to be more on-the-nose than most drummers. Maybe that’s how he’s managed to limber up that split-second timing. Steve was responsible for queries and pauses for perhaps two-thirds of one show. John performed all thirds of that same show, plus a full-length solo piece requiring the same unflagging concentration, not to mention SHOW TRASH as himself, and all of it in random order as the two-month “rep” engagement continued. No more complaining from any other actors struggling to get off book!
The miraculous trinity is completed in the visual performance. With classic-era diva makeup slathered on, Epperson is able to amplify the recorded track with movements so minute and dead-on that it’s possible to occasionally forget that Lypsinka isn’t actually speaking. For CRAWFORD, I was sitting in the stage-right front row, no more than ten feet from the two performers, and I noticed only five, maybe six slight “sync” errors during the entire hour-plus piece. (Those came at points where there was really no way to anticipate the cue, and each time the actors recovered instantly.) That’s all the imperfection I could see, and I was right on top of them! Lypsinka’s addenda are her eyes, lips, coiffure, diva-esque turns, and occasional drop-dead gazes at her interlocutor. Clothes hang nicely on John’s model-thin frame; Lypsinka is born to fashion (and has actually graced some famous runways), not some dragette stuffing himself into a costume. Sitting very close for the first time at a Lypsinka performance, I expected the show to be aimed beyond me, like some Broadway actors will do (Jason Robards Jr., for example, was an inveterate spitter, and some of his downstage histrionics could actually reach the front row). But I noticed some very subtle things between the two actors which might not even have projected. Or maybe I’m wrong about that: the reason you wear makeup on stage in the first place is so the folks in the back row can see your features plainly. Epperson’s makeup looks good up close in a maturing-diva sense (in other words, his Crawford’s no longer young enough to try to appear natural), but you can see every overly dramatic lip-tremble from the back row too. You can probably see it from the frickin International Space Station.
After the show, John came out for a very rare curtain talk: I’d never before seen him appear on stage out of character. It was the last night of the run, the final CRAWFORD, and in two hours he would end the entire engagement with a late-show performance of SHOW TRASH. As he thanked us, the soft-spoken Hazlehurst accent appeared, unamplified, and he seemed to lose an inch or two in height, in clear contrast to the over-the-top boisterous razzle-dazzle he’d just presented. Then a sly grin. “If we decided to do this again, maybe in a year or so, would you tell your friends…and come back?” Of course, the place went nuts. What a wonderful body of performance art this talented actor has created. Whenever you’re ready, just say (or sync) the word, man, and you can count on me.
P.S. It’ll take a little longer, because a year from now John is already booked, as we learned in the New York Times.
6/2/15: Jim Bailey, referenced above, left us this year.
1/10/18: But I did get to see John (can I say “Johnny,” which is how we addressed him back when?) out of character again, in a Wallace Shawn piece that was one of my favorite nights of theatre in 2017.