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	Lypsinka's 'Passion': Deeper Than Drag - washingtonpost.com
		What Lypsinka seems to have in mind here is a lot riskier and a lot more interesting: an exploration of the image-conscious calculations of a quirky film star, and the gap between what she imagines she's conveying about herself and what we perceive about her.
		Lypsinka's scarlet-painted lips quiver on cue, too: It's tantalizingly unclear whether the extravagant expression is a reaction to the (canned) applause, or a ruse for squeezing out every ounce of demonstrable love she can from her fans.
		The performance ends with one of Lypsinka's signature shticks, a choir of ringing phones that she answers with a recorded line from one Crawford movie or another.
	www.washingtonpost.com /wp-dyn/content/article/2007/02/08/AR2007020802458.html (978 words)

	Lypsinka! As I Lay Lyp-Synching, a CurtainUp review
		Lypsinka may have seemed like an ephemeral party joke when she first appeared long ago, but she has evolved into a theatrical institution, and is reveling audiences in her high-dudgeon bodily accompaniments to assorted voices of the past, some still familiar and some amazingly peculiar.
		Lypsinka's material is drawn not only from the predictable areas of musical comedy and sappy horror and melodrama films, but also from recorded advisories on fashion and etiquette, for Ms.
		Sound of course is central to Lypsinka, for her entire career centers on brilliantly eclectic miming to a huge gallery of both singing and speaking voices.
	www.curtainup.com /lypsinka.html (625 words)

	TWEED - Reviews
		Lypsinka, the voiceless alter ego of the actor and writer John Epperson, has won a devoted following by throwing madcap parties in which the greatest (and strangest) moments in screen-queen history are allowed to share the same stage, indeed the same taffeta dress and glittering accessories.
		Lypsinka, the flame-haired performer who has made a career out of mouthing the words to mostly obscure pop recordings of the 1950’s, has found her own voice and is willing to share it with the world.
		Lypsinka’s Harriet, dressed in Ramona Ponce’s armorlike full-skirted New Look costumes, seems perpetually poised for homicidal breakdown, her eyes moving like windshield wipers, her mouth alternately a shark’s smile and a scrunched-up moue of distress.
	www.tweedtheater.org /press/reviews.html (4486 words)

	Lypsinka: Grandes Dames
		Though yet to conquer that particular stage, as Lypsinka he's wowed 'em Off-Broadway, been seen on HBO and MTV, and paraded the catwalks of fashion designers Thierry Mugler, Valentino and Pauline Trigere.
		Lypsinka pulls drag into the realm of high art and sophisticated satire.
		Lypsinka is self-absorbed, and I'm very pragmatic and worry too much.
	www.citypaper.net /articles/091495/article027.shtml (1155 words)

	Lypsinka - Wikipedia, the free encyclopedia
		Lypsinka (real name: John Epperson) is a New York based drag queen who lip-synchs to meticulously edited show-length soundtracks culled from snippets of outrageous 20th-century female performances in movies and song.
		Lypsinka has appeared in evening-length solo shows Off-Broadway, including The Boxed Set and As I Lay Lip-Synching.
		This artist is a frequent performer at Wigstock, and in his early career performed often at the legendary Pyramid Club.
	en.wikipedia.org /wiki/Lypsinka (186 words)

	A Day To Be Gay in the Catskills / Lypsinka
		Epperson and Lypsinka are the subjects of an Emmy-winning television documentary for PBS.
		Lypsinka has appeared in the Paris, Tokyo and Los Angeles fashion shows of haute couture designer Thierry Mugler, with Ivana Trump, Jeff Stryker, Sharon Stone, Lesley Ann Warren and Julie Newmar.
		Lypsinka has been fortunate enough to appear in such hallowed venues as Carnegie Hall, the Grand Ballroom at The Waldorf-Astoria, Drury Lane Theatre Royal in London, the Castro Theater in San Francisco, and the Tupperware Auditorium in Orlando!
	daytobegay.org /bio_lypsinka.html (542 words)

	village voice > theater > Shakespeare’s Villains: A Masterclass in Evil; Howie the Rookie; Lypsinka! The Boxed Set by ...
		Lypsinka is another chatterbox, one who refutes Berkoff's claim about actors by fashioning the tightrope itself out of crap.
		Lypsinka owes as much to kabuki as to karaoke, and maybe a bit to Cindy Sherman, with whom Lypsinka shares the will to explode the stereotype of put-together female stars who are falling apart inside.
		Though it might be interesting to see Lypsinka swerve her material a bit, into a wider variety of eras, longtime fans will still be tickled by the telephone routine, where a harried Lypsinka answers three constantly ringing telephones with random bits of dialogue.
	www.villagevoice.com /theater/0103,hannaham,21457,11.html (1299 words)

	The New York Times: Theater: Review: THEATER REVIEW; Those Eyes! Those Sighs! Lypsinka, What a Dame
		The show, her first solo effort in seven years, is called ''Lypsinka!: The Boxed Set,'' and the suggestion of captivity in the title is no doubt intentional.
		Epperson created with his mute stage persona, who moved her mouth to artfully arranged recordings of songs and movie dialogue, was clearly something more than the usual drag act; this was not just an instance of a boy who enjoyed being a girl.
		While Lypsinka's voices are as varied as the singers to whom she lip synchs (I couldn't begin to identify who they all are), they all come to seem like natural subsets of the same persona.
	www.mtspaceinc.com /Press/NYT_Review_Those_Eyes.htm (1006 words)

	Scotsman.com Living - Read my lips: I'm more than just a drag queen (Site not responding. Last check: 2007-10-12)
		JOHN Epperson and I meet in New York's Chelsea - "the city's gay ghetto" - in a camp little café manned by a sneering waiter whose curl of the upper lip is a sight to behold.
		Born in the 1980s as a homage to the haughty enamelled models Dovima and Verushka, Lypsinka arrived at a time when "deconstruction was still largely thought of as what you did to derelict buildings," according to New York Times critic Ben Brantley in his review of The Boxed Set's 2000 New York premiere.
		Lypsinka is many things, but she originated as a commentary on performance in general and drag performance specifically.
	living.scotsman.com /index.cfm?id=2247032005 (1136 words)

	Jackie Beat Rules! » LYPSINKA INTERVIEW! (Site not responding. Last check: 2007-10-12)
		LYPSINKA: Yes, I feel St. Joan often gets short shrift from so-called “impersonators” who portray her as a wire-hanger-wielding caricature, so I wanted to present her as a more complex, multi-layered human, but with my usual lip-synching mindfuck and laughs.
		LYPSINKA: I also have an autobiographical show that I do in my street clothes, playing the piano and singing, called “John Epperson: Show Trash.” I’ve been pushing all of this stuff since I live in the city in America that is most likely to get another terrorist attack.
		LYPSINKA: Let me say this much: I was so pleased to not know for many years who Jennifer Aniston was.
	jackiebeatrules.com /blog/?page_id=14 (935 words)

	Beauty secrets / Drag performer Lypsinka saves outrageousness for the stage
		Lypsinka is the nom de drag of a very sweet, pale, 6-foot-2 gingersnap of a guy named John Epperson, 46, late of Hazlehurst, Miss., noted as the setting for the play "Crimes of the Heart."
		Instead, Lypsinka, the outrageous redhead with the retro style, lip-synchs to such sterling performers as Gisele MacKenzie, Frances Faye, Connie Francis, Libby Morris, Dorothy Squires and Epperson's muse and all-time favorite '50s musical icon, Dolores Gray, to whom Lypsinka bears more than a passing reference.
		Lypsinka was born out of homage to models Dovima and Verushka.
	www.sfgate.com /cgi-bin/article.cgi?file=/chronicle/archive/2001/09/24/DD9301.DTL&type=printable (698 words)

	Lypsinka! The Boxed Set - John Epperson
		Lypsinka, a self-proclaimed glamour goddess, is touring in a solo appearance called Lypsinka!
		Instead of taking the familiar route (gay man impersonates strong woman who is idolized for her resilience and fortitude) to give us cameo appearances of stars in song and attitude, Epperson has something much more complex in mind.
		Lypsinka is a conceptual artist, kaleidoscopic (even phantasmagoric) in her reach.
	www.culturevulture.net /Theater/Lypsinka.htm (629 words)

	glbtq >> arts >> Epperson, John
		He has been praised for his ability to convey the wide array of emotions to which Lypsinka is subject as she works her way through the existential crises of her life.
		Although Lypsinka does not speak in solo performances, she does when appearing on stage with other actors.
		Lypsinka has appeared in the George Michael music video "Too Funky" (1999), in several television specials, and in ads for companies such as the Gap and L.A. Eyewear.
	www.glbtq.com /arts/epperson_j,2.html (1534 words)

	Review of "Lypsinka: As I Lay Lip-Synching" by Don Shewey
		One of those kids is John Epperson, who created the character of Lypsinka and the hermetically sealed world in which she lives.
		The slim conceit of As I Lay Lip-Synching is that, underneath her energetic devotion to fashionable clothes and cosmetics, Lypsinka is a woman on the verge of a nervous breakdown.
		Some ardent devotees see everything Lypsinka does as clever and hilarious, even a scathing commentary on societal restriction of women.
	www.donshewey.com /theater_reviews/lypsinka.html (304 words)

	Playbill News: Lypsinka Salutes Joan Crawford in The Passion of the Crawford
		Playbill News: Lypsinka Salutes Joan Crawford in The Passion of the Crawford
		Lypsinka Salutes Joan Crawford in The Passion of the Crawford
		Lypsinka has also appeared in the films "Wigstock: The Movie," "Vampire's Kiss," "Witch Hunt" and the HBO film of "Angels in America."
	www.playbill.com /news/article/87611.html (384 words)

	glbtq >> arts >> Epperson, John
		Lypsinka first met her public in late 1988 when Epperson's act was a late-night addition to the bill of Charles Busch's Vampire Lesbians of Sodom at the Provincetown Playhouse in New York.
		The Lypsinka shows are technically complex, as Epperson weaves together scores of source materials to tell a story.
		Ringing telephones, bringing matters that demand immediate attention, are a staple of the act as Lypsinka expends extraordinary energy in coping with the exigencies of life.
	www.glbtq.com /arts/epperson_j.html (700 words)

	Jackie Beat Rules! » LYPSINKA INTERVIEW! (Site not responding. Last check: 2007-10-12)
		LYPSINKA: Yes, I feel St. Joan often gets short shrift from so-called “impersonators” who portray her as a wire-hanger-wielding caricature, so I wanted to present her as a more complex, multi-layered human, but with my usual lip-synching mindfuck and laughs.
		LYPSINKA: I also have an autobiographical show that I do in my street clothes, playing the piano and singing, called “John Epperson: Show Trash.” I’ve been pushing all of this stuff since I live in the city in America that is most likely to get another terrorist attack.
		LYPSINKA: Let me say this much: I was so pleased to not know for many years who Jennifer Aniston was.
	www.jackiebeatrules.com /blog/?page_id=14 (935 words)

	Lypsinka - Moviefone (Site not responding. Last check: 2007-10-12)
		Hear Lypsinka speak "live" and tell you how you can achieve and maintain...
		Pictures and Bio of lypsinka, one of New York's most influential transvestite, drag, and transgendered performers.
		Lypsinka - Filmography, Biography, News, Photos, Birth date, Relationships, Lypsinka Film Clips, and Fun Facts on Moviefone.
	movies.aol.com /celebrity/lypsinka/477848/main (86 words)

	New York Blade Online
		Lypsinka changes pace with a one-woman show, a tribute to the ultimate star, Joan Crawford.
		What Lypsinka brings to the table (other than Joan’s autobiography) is her Jack Bennyesque side-glances, simultaneously adoring-threatening faces to the audience, plus grimaces, offside twitters and much eye rolling.
		Lypsinka remains one of the most original talents on stage today.
	www.nyblade.com /2005/5-20/arts/theater (722 words)

	The Austin Chronicle Arts: Review - Lypsinka: The Boxed Set
		Well, Lypsinka doesn't have the complexion issues that Blair's poor Regan did -- you know, those pesky boils erupting all over her puffy, cement-colored face.
		(Lypsinka's skin is the shade of fresh cream and silken from stem to sternum.) And her hair isn't that ratted, matted mess of grocery-bag brown.
		Yes, Lypsinka is possessed, but unlike a certain Georgetown teen whose penchant for projectile vomiting terrifies, her possession inspires laughter.
	www.austinchronicle.com /gyrobase/Issue/review?oid=oid:83967 (905 words)

	welcome to lypsinka!
		Lypsinka has chosen to auction some of her precious estate.
		The Washington Post says: "The fabulousness of Lypsinka has been established so definitively that it could be cited in case law.
		to hear a 3-hour radio show from the archives of WFMU.org co-hosted by Lypsinka and featuring lots of goodies from her private, eclectic storehouse of incredibly strange music.
	www.lypsinka.com /thanks.html (593 words)

	Talkin' Broadway Regional News & Reviews: San Francisco - The Passion of Crawford - 5/26/06
		Lypsinka (aka John Epperson) recently returned to San Francisco after a four-and-a-half year absence.
		Lypsinka held court at the Empire Plush Room in the Hotel York, playing, once again, the film diva Joan Crawford.
		Lypsinka does not present a caricature of the actress but a complex woman with just a slight amount of camping.
	www.talkinbroadway.com /regional/sanfran/s781.html (821 words)

	' Lypsinka! As I Lay Lip-Synching,' Review on Broadway.com
		For instance, she segues from a scary monologue in which she brandishes an ax and spouts Mommie Dearest dialogue to a perky rendition of "Another Op'nin', Another Show" and then an intentionally klutzy rendition of Lauren Bacall's "But Alive" from Applause.
		Lypsinka incorporates other screen divas in her trademark phone-call routine, in which she answers three imaginary phones in three spotlights, switching voices each time she answers a different phone.
		Lypsinka doesn't try to look like the stars, but she brings out the campiness of the dialogue by arching an eyebrow, batting her heavy eyelashes or contorting her lips into an ironic smirk.
	www.broadway.com /gen/Buzz_Story.aspx?CI=32034 (421 words)

	Lypsinka Dearest: John Epperson, as icon Lypsinka, recreates Hollywood legend, Joan Crawford, at Studio Theatre: ...
		I never intended for Lypsinka to just lip sync, but because of the name, people tend to think that's the only thing I can do.
		Part of the appeal of Lypsinka is that it's a man in a dress, and there's something forbidden and titillating to the audience about that.
		The purpose of this, it seems to me, is for Lypsinka to channel and embody Joan Crawford.
	www.metroweekly.com /feature/?ak=2536 (3039 words)

	Lypsinka! As I Lay Lip-Synching, a CurtainUp DC review
		Self-proclaimed glamour goddess, that she is, Lypsinka is the female alter-ego of performance artist -- as well as, writer, actor, and cabaret singer -- John Epperson.
		As I Lay Lip-Synching, Lypsinka first appears on stage in a straight jacket after an announcer has alerted the audience that the celebrity has attempted suicide.
		Since his character never speaks he has by necessity mastered the use of his eyes, hands, and body to share what is really happening in Lypsinka's "thoughts." From a cultural viewpoint, he is a genius on 1930s to 1950s female mannerisms.
	www.curtainup.com /lypsinkadc.html (719 words)

	Lypsinka! As I Lay Lip-Synching: review on TheaterMania.com
		For those who don't recognize the name, Epperson is who Lypsinka is when she removes Louis Braun's carefully applied makeup, Mitch Ely's lethal-flip wig, and the shrewdly mix-and-match costumes that Bryant Hoven contrives.
		A large part of any Lypsinka personal appearance is the fun of identifying the sound bites that Epperson has rounded up -- although, in Lypsinka's case, they're not so much sound bites as sound chomps.
		When Lypsinka reaches behind a curtain for a fan or an oversized gin bottle with a straw in it, she's instantly handed the evocative prop.
	www.theatermania.com /content/news.cfm/story/3809 (1124 words)

	San Francisco Bay Times
		Well, to be truthful, the real JC is dead and gone, but you'd swear she was alive when you catch postmodern male actress John Epperson as the nationally acclaimed Lypsinka doing her best mommie dearest in the Bay Area debut of The Passion of the Crawford, directed by Kevin Malony.
		John Epperson, the creator and performer of the glamour goddess Lypsinka, was born in Hazlehurst, Mississippi; but we won't hold that against her.
		Lypsinka has every subtle and not so subtle nuance of JC down pat.
	www.sfbaytimes.com /article_p.php?article_id=5019 (868 words)

	Not Far From Heaven
		Those lights used to be a beacon of tranny-civilization but now they seemed a little paltry compared to the bright lights of the newer arrivals in the neighborhood.
		I had never seen Lypsinka perform, but I met a very genteel and charming guy at a party once, and late in the conversation, when I asked what he did, he told me he was Lypsinka.
		Floatilla's daughter is almost white, and it soon becomes apparent that she is obsessed with passing as white, and resents her mother's station in life and her flness and everything else about her.
	www.mrbellersneighborhood.com /beller.cgi/00855.html (1492 words)

	TRIO: Pressroom
		New York, New York, January 27, 2003 -- The vivacious drag performer Lypsinka hosts popular arts channel TRIO's special night of Valentine's Day programming featuring Stormy Weather: The Music of Harold Arlen, it was announced by Lauren Zalaznick, President, TRIO.
		Lypsinka (aka actor John Epperson) first wowed audiences Off-Broadway lip-synching to a collage of vintage musicals, movie clips and sound bites of famous voices such as Joan Crawford, Bette Davis, Faye Dunaway and even Harold Arlen.
		This Valentine's Day Lypsinka will introduce TRIO's world premiere original music/drama special, Stormy Weather: The Music of Harold Arlen along with two romance-themed films, Four Weddings and a Funeral and True Romance, which round out the day's programming on the channel.
	www.triotv.com /corp/press/2003/pr0127.html (375 words)

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