Christopher Whipple
F@&k it, Yes!
Don’t Tell Mama, NYC, April 11, 2018
Reviewed by Randolph B. Eigenbrode for Cabaret Scenes
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Lest it ever be doubted, shows of the one-person variety are a tough feat to pull off.
Differing from traditional cabaret, the inhabitant still shares engaging stores with an original or unusual perspective. They, however, put the storytelling focus on the patter sections—usually longer and more fully sketched—rather than in the arc of the songs. This shift takes both a crackerjack raconteur and a unique story to keep an audience fully engaged for 75 or so minutes.
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Christopher Whipple, in his debut, jumps in with both feet. In fact, his mantra becomes the reoccurring punchline of the piece:
“F@&k it, yes.”
Whipple employs this philosophical formula at times of indecision, gaining him a mischievous appeal. A swinging, almost vermouth-soaked “The Impossible Dream” (Mitch Leigh/Joe Darion) recounted his (first) marriage vows with a naughty undercurrent. And “Feeling Good” (Anthony Newley/Leslie Bricusse), showcasing his pleasant and plucky baritone, finds humor in his discovery of “Molly”—a companion of both the flesh and pharmaceutical variety.
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But even with all of Whipple’s undeniable charm, he runs into most of the freshman follies.
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There are the clichéd song choices—“Marry Me a Little,” “Everybody Says Don’t” (both Stephen Sondheim), and “That’s Life” (Dean Kay/Kelly Gordon)—both overdone and far too on-the-nose in their storytelling employment.
And the narrative constantly teeters on overshare, an irony even in a one-man show. This mainly stems from Whipple’s often presentational nature. He let loose in “Masochism Tango” (Tom Lehrer), but it seemingly showcased his comedic technique rather than reflect back to an audience for universal connection.
And while he might be self-admittedly “working through his stuff,” his thematic messaging towards the end resonates. The audience is treated to a simple and pure “I Want You to Want Me” (Rick Nielsen). Reveling in music director Bill Zeffiro’s bluesy arrangement, he delivers an honest smile for the first time.
“Feeling all alone without a friend, you know you feel like dyin’.”
Whipple succeeds in his suggestion that we own our choices, even the embarrassing ones, as that’s how we grow and evolve. And with his cabaret career in front of him, he has some growth to do. But, for the meantime, one can only say: “Yes.”
