At its heart, Mozart’s timeless opera, “The Marriage of Figaro,” tells a story of eventual redemption.
Following three hours of delightful chaos, filled with mistaken identities and a delightful overturning of social norms, the opera reaches a poignant pause. The subsequent music is deeply moving and magnificent, as the errant Count humbly seeks his wife’s pardon. Her graceful forgiveness sets the stage for a joyous finale involving all characters.
A different kind of redemption is currently unfolding at the Baryshnikov Arts Center. Kevin Carillo’s “Figaro/Faggots,” which debuted on Thursday, is a breathtaking and often convincing blend of Mozart’s opera and the fierce prose of Larry Kramer, the impactful activist who passed away in 2020. This unique adaptation creates an improbable pairing that elevates Kramer’s often-criticized novel, offering surprising insights that honor both Mozart’s musical genius and Kramer’s challenging perspective.
Primarily, Carillo’s production delves into Kramer’s 1978 satire, “Faggots.” While the novel boldly confronts its title, it’s also a complex, at times self-critical, call for genuine love and lasting commitment amidst a period of intense sexual and recreational freedom within the gay community. Though passionate, its original literary execution felt more like an urgent, unpolished first draft.
The core of Carillo’s vision lies in the friction between Kramer’s passionate anger and the enduring elegance of Mozart’s score, which the production describes as “a pretty package of life.” Carillo skillfully merges these distinct elements, allowing the novel to adopt the operatic arc from comedy to sincere depth, while the music receives a vibrant Fire Island transformation, particularly shining in a disco rendition of the aria “Dove sono.”
One might easily envision a production simply transplanting “Figaro” to Fire Island. The opera’s inherent social structures and evolving concepts of faithfulness perfectly align with this iconic gay retreat. The fourth act’s clandestine garden encounters could effortlessly translate to the famed Meat Rack, almost staging themselves. Yet, Carillo aims for something more profound, exploring how different art forms can organically intersect, offering new perspectives when juxtaposed.
The performance commences with one such transformative moment. A group of six actors, portraying themselves, share laughter in a rehearsal space until the lights flicker, and a copy of Kramer’s book dramatically appears. Toni Jenkins, dressed in Kramer’s characteristic layered shirts and overalls, declares, “A reading from the Gospel according to the Prophet Larry Kramer.” As if enchanted, they then collaboratively narrate the novel’s tale.
The true magic begins with the arrival of Mozart’s score, which seems to vibrate with a seductive energy as Jenkins holds it close. Performers symbolically consume fragments of the musical paper, as if taking a potent substance. This act unlocks a vibrant musical universe, heralded by Bryce McClendon’s exquisite rendition of the Contessa’s aria “Porgi, amor,” accompanied by Sean Peter Forte, the show’s talented music director and arranger, on piano.
While that particular aria is sung in Italian, the traditional “Figaro” libretto by Lorenzo Da Ponte is soon replaced with fresh English lyrics. Cherubino’s passionate “Non so più cosa son, cosa faccio,” an ardent expression of youthful sexual desire, is cleverly reinterpreted as a list of Fire Island substances. Furthermore, the expansive Act II finale of the opera becomes a powerful staging for the Supreme Court’s arguments in Lawrence v. Texas, the landmark case that invalidated anti-sodomy laws.
McClendon and Jay St. Flono deliver the most traditionally operatic performances, yet the entire ensemble shines with the flexible, improvisational energy of a DIY troupe. This includes Anthony J. Costello, who frequently embodies Jenkins’s youthful, elusive love interest; the energetic Luk Rosario and León Tak; and, in the concluding acts, Tom Gold as Kramer’s partner.
While Kramer’s original novel can be a challenging read, it forms a relatively small portion of Carillo’s production. The focus soon shifts to Kramer himself: the dedicated AIDS activist whose fury fueled his powerful play, “The Normal Heart,” and the relentless, critical voice who devoted his later years to crafting the extensive two-volume work, “The American People.” Much like “Figaro,” the show evolves, becoming more profound, contemplative, and ultimately, deeply moving.
However, akin to a well-worn garment, the production occasionally loses its tightness. Carillo presents moments of genuine theatrical genius, like a moving tribute to AIDS victims conveyed through just an empty jacket and copies of the novel, and a boisterous fusion of sensuality and musical ecstasy that defies newspaper description. Despite its “Figaro”-inspired framework, the show’s essence remains distinctly Krameresque: expansive, emotionally charged, and relentless.
Kramer’s distinctive style, both in his life and his art, often proved to be a double-edged sword. Emulating it, even in an homage, carries significant risk. Carillo, evidently deeply admiring of his subject, appears to share Kramer’s tendency for unedited expression. A more disciplined approach might have allowed him to salvage more than just a challenging novel.
“Figaro/Faggots” Production Details
Catch this unique performance through Saturday at the Baryshnikov Arts Center in Manhattan.