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Carmelita Tropicana and
Anthony Roth Costanzo in Galas.
Credit: Nina Westervelt |
The worlds of camp and opera collide deliriously in the revival of Charles Ludlam’s 1983 Galas in a spectacularly silly outdoor production at Little Island directed with fizzy abandon by Eric Ting and starring the magnificent countertenor Anthony Roth Costanzo. Ludlam’s spoof of bio pics and grand opera profiles a larger-than-life diva not unlike the legendary Maria Callas. The playwright-drag artist assumed the role when it was first presented with his Ridiculous Theatrical Company. In a stroke of casting genius, Costanzo not only transforms himself into the demanding bitch goddess parody of the iconic prima donna but he also delivers several dazzling, spot-on renditions of arias from Callas’ repertoire (Costanzo is credited with “Additional Music Selections” and kudos to Tei Bow’s excellent, resonant sound design).Callas is a natural choice for a drag artist. She was imposing, demanding and led an offstage life as outsized as any of the tragic heroines she portrayed. She battled with the establishment at Milan’s La Scala, left her devoted husband for the millionaire Aristotle Onassis only to be dumped in favor of the recently widowed Jacqueline Kennedy, and commanded loyalty from a legion of fans who acclaimed her as the greatest opera singer of all time. Who could resist such a role?
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Anthony Roth Costanzo in Galas.
Credit: Nina Westervelt |
Costanzo bites into Galas with relish and abandon. He attacks the part without restraint both musically and dramatically. Ludlam’s goofy script is loaded with excess and Costanzo goes whole hog. He manages to create a glorious monster, but also a believable woman. Here is the incarnate, egotistical star who declares, “I don’t love music. I am music.” Costanzo captures Galas’ vulnerable side as well. After her voice and her lovers have deserted her, she stands alone in the midst of Mimi Lein’s suggestively opulent set. Costanzo slowly removes Jackson Weiderhoeft’s tasteful dressing gown and even Amanda Miller’s perfectly coiffed wig to stand semi-naked, exposing her battered soul beneath the make-up and artistry.
