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 century of all time. Who could resist such a role?

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.

Eric Ting’s wild, imaginative production adds outrageous flourishes to Ludlam’s already zany script, yet retains a kernel of verisimilitude so it doesn’t go too far over the top. The characters behave as if they are in grand opera with sudden shifts in Jiyoun Chang’s outlandish lighting and musical stings delivered by sound designer Bow to emphasize a shocking or melodramatic moment. In another delightfully inventive moment, the cast transforms into the train delivering Galas to her first major opera engagement. Each member of the ensemble imitates the jerky chug-chug of the locomotive and Hahnji Jang’s costumes create the exaggerative European fashions of the 1950s as enormous hats and pieces of luggages twist and sway when the train pulls into the station (Mimi Lein’s graceful runway serves as multiple locations.) It’s a spectacular moment. (Note: Weiderhoeft designed Costanzo’s costumes, Jang created the clothes for the rest of the cast. Both designers create marvelous couture.)

Just as Costanzo does, the ensemble delivers captivating campy caricatures with just a hint of realism. Veteran character actress Mary Testa displays perfect timing as Galas’ loyal, looney maid Bruta, herself a former opera diva. Testa knows just when to change octaves for maximum comic effect and can turn cleaning with an enormous feather duster into an expressive ballet. Carmelita Tropicana crosses gender lines and delivers a believable, put-upon husband to the star. Samora La Perdida is a lascivious cartoon of a pope and a smirking American journalist. Funny work is also contributed by Austin Durant as an explosively boisterous La Scala manager, Caleb Eberhardt as a sexy Greek tycoon, Erin Markey as his ditzy wife (thrown over for Galas), Patricia Black as a sarcastic, German love huntress, and Jeremy Rafal in multiple roles.

Even if you are not an opera fan, Galas is a divine divafest you won’t want to miss, especially if you were not fortunate enough to see any of the late, lamented Ludlam’s many mad concoctions.

Sept. 14—28. The Amp at Little Island, Pier 55, Hudson River Park at W. 13th St., NYC. Running time: 100 mins. with no intermission. littleisland.org.