They recruited members to spread viral infections through unsanitized or crowded public places, pursuing their #KillerGoal of #Murder. One segment leveled criticism at both multi-level marketing schemes and unsafe public safety protocols it catalogued the “viruses” of the Alpha Beta Delta sorority, self-proclaimed #BossBabes aiming to #StartTheSpread.
The rest of the show was marked by a similarly absurd style of performance, punctuated by over-the-top musical numbers and witty breaks in the fourth wall. ( Courtesy of Harrison Truong, Stanford Live) Rossi markets boisterous baby monitors named after the powerful voice of musical theater actress Ethel Merman. driving a car through pedestrian traffic) and feigned innocence condemned the Karens - and the upper-class white women they embody - in a graceful yet serious manner. The juxtaposition between their harmful, often racist actions (e.g. They had even made their own hashtag, she said: #NotAllKarens. The audience laughed along to the clever criticism of the insincere, performative activism championed by American institutions.ĭuring a later skit, Rossi’s Karen persona shared stories from her peers in the “Karen support group,” where like-minded women gathered to lament their perceived oppression. Grudgingly, she made her way through a perfunctory land acknowledgment, while at the same time professing the tantamount importance of this small act. Rossi was decked out in a blond wig with noticeably grown-out roots, a colorful workout jumpsuit and flashy faux diamond-studded bangles. The first portion of Saturday’s show consisted of an extended “Karen” impression. Rossi’s “Karen” persona was complete with a costume, high-pitched voice and no-nonsense fastwalk. Instead, he writes, “I’m more interested in Coyote-style trickery similar to the clown’s objective - a clown says one thing while doing the opposite.” Herein lies the unique satirical spirit of Carla Rossi. The purpose of his art is not to perform womanhood, which a drag queen might aim to do. On the “Why Carla Rossi?” page of Hudson’s website, he draws a distinction between drag queens and drag clowns. She even performed internationally in Canada and Australia during her 2019 solo tour, “Looking for Tiger Lily.” Rossi has gradually gained prominence in the Portland arts scene since her first performances in 2010. A member of the Confederated Tribes of Grand Ronde, he uses drag performance to criticize American systems of race, whiteness and gender. Using sonic and visual accompaniments, she portrayed a broad spectrum of emotions ranging from glee to desperation.Ĭarla Rossi is the drag character of half-Native American and half-German Anthony Hudson.
Rossi’s show was largely satirical, taking jabs at pervasive institutional problems with a deceptively cheery tone.
The drag clown - a title Rossi prefers due to its more gender-expansive and performance-specific connotations - delivered an engaging series of comedic skits, each a testament to her prodigious theatrical and vocal skill. As anyone who was at Stanford Live’s Bing Studio on Saturday night will tell you, watching Carla Rossi perform is like watching a chameleon change colors.