Glitter rains from the sky, sequins scatter across the stage, and the sultry sounds of Fire Island summers past come alive in New York’s West Village. Little House on the Ferry: The Musical is a time machine, whisking audiences back to 2010, when the fight for marriage equality hung in the balance and chosen families found solace in the sand dunes of a queer paradise. This immersive experience, now in previews at the newly revived Duplex, serves up equal parts nostalgia and urgency, with a dash of Planter’s Punch for good measure.
At the helm of this glittering vessel is Xana DuMe, a drag queen extraordinaire with a penchant for jaw-dropping tap routines and razor-sharp wit. The Brazilian drag artist Felipe Galganni, known for his impressive career in the arts both on and off stage, is the talent behind the drag persona. Xana takes on the role of host, leading four friends and the audience through a weekend filled with passion, politics, and personal growth. The show’s creative team, led by Robert Gould (book, music, and lyrics), Victoria Rae Sook (director), Michael McCrary (choreographer), and Quenton Ellis (music director), has crafted a production where one showstopper follows another.
As Little House on the Ferry invites its characters and audience to #JumpThatFence, it offers more than just entertainment — it’s a celebration of love in all its forms, set against the backdrop of a pivotal moment in LGBTQIA+ history. But what goes into bringing such a vibrant world to life night after night? In an exclusive interview on Thursday, October 17, just a day after I experienced the show myself, I sat down with Xana DuMe to uncover the magic and mayhem, and to get an insider’s look at what makes Little House on the Ferry a must-see musical.
Chloe Yang (CY): What are some of the things that you’ve liked the most about this show? What’re some challenges that you hadn’t anticipated?
Xana DuMe (XD): I’m obsessed with this cast. When you do productions like that, you come in not knowing if you’ll love them. But these people are over-the-top talented. They’re inspiring. We’re so tight. Everyone has those days when they’re at like 30%, and then sometimes you’re at 100%. We have that good connection of feeling each other and being like, “Okay, you don’t have the energy. I have it. So I got you.” I love the director, Victoria. Michael, the choreographer, does impeccable work. Quenton, the music director and music producer, weaved all the voices together to make it sound pop and tell the story in the best possible way. Rob Gould created a fantastic story about our community, and it’s truly impressive to see how this talented group of artists came together to bring his vision to life.
I believe one of the main challenges with immersive shows is figuring out when to engage with the audience and share my energy to build a connection, versus when to redirect that energy towards the characters. I’m beginning to find that sweet spot.
CY: I was really impressed how y’all had all the show-stopping moments, but also kept it so pop — everyone could dance and clap to it. And I love how Christopher Harrod, who plays Donnie, invited people to actually dance.
XD: The hoedown scene is one of the most enjoyable parts of the musical. It’s the perfect opportunity for us, the cast, to invite the audience to join in and learn a line dance, making them an active part of the fun. I also love when I do “After Hours.” It’s sexier, and the lighting … It’s so Xana. And “Jump that Fence” feels like everybody took LSD, and we’re all in this completely different space.
CY: I really, really loved seeing the show. I was incredibly stunned by the pink outfit you walked out in. Did you thrift it, or did you just put it together yourself?
XD: Tyler Mark Holland put all the costumes together, and designed that dress for my body. Shows start at 7:30 PM, but the doors open at 7 PM for “tea” and a special immersive performance, where I sing in the bar area and prepare the audience for boarding, wearing this very long and beautiful jacket. Then in the first number, “We’re on Fire Island,” there’s a reveal moment, when I drop the jacket and the dress appears. It was supposed to be a maxi dress, but I suggested we go short because I need more leg space to tap-dance in it later in the show. Thank God Tyler also works as a drag queen, so he understands that when I’m in drag, I need to feel good. Even if it’s the most beautiful outfit I’m not going to be her if I’m not feeling it. And I have to be her.
CY: And yesterday, when you were tap-dancing, I saw a sequin trim fall to the ground, and you were tap-dancing on it. I was worried you might trip on it, but you were just handling it so well. Is that just how pros do things?
XD: I’ve been through so much, tap-dancing professionally for over 20 years. I’ve performed in everything from very tiny spaces to Lincoln Center, and I’m very used to those things. I noticed the falling sequins, and I think it’s one of those things that we’re going to fix, now that we’re seeing how the costumes behave. But yes, that’s just part of the process.
CY: What is the thing about tap dancing that really drew you to it?
XD: Tap dance is a percussive form of dance, and the sensation of making music through movement is truly amazing to me. All my work in tap dancing is connected to my Brazilian roots and rhythms. But I came to New York to study the swing feel in tap dance, something I couldn’t get in Brazil at the time. I wanted to be a hoofer, because jazz is where tap dance is rooted. My dance now comes from this place of honoring the people that tap-danced before me, so this art form could get to where it is today.
CY: You were just talking about how you need to be Xana DuMe, your drag persona, in any costume. How did you get cast as the host in Little House on the Ferry? Does acting in this show feel different from performing in your own shows?
XD: I’ve created three full-length cabaret shows for Xana. The first one, called The Rise of Xana DuMe, debuted in 2021, followed by The Tap Dancing Drag Queen in 2022, and my latest show, WHO SHE? Being part of a musical is a different experience compared to my own shows. Instead of sharing my personal story, I’m contributing to a larger narrative, which changes the structure quite a bit. I’m used to working solo and with dancers, but this is more of a musical theater setup rather than a cabaret one, and that’s the main distinction.
I auditioned for Little House on the Ferry, because my agent told me they were looking for a drag queen. For the first round of auditions I had to send in a video of me singing a pop song, then “Jump that Fence,” as well as a drag reel. I got a callback, which was at 11 in the morning, so I emailed them asking if I had to come in full drag. They told me to please do it if I could.
CY: And did you have to wake up super early to get ready for it?
XD: I’d been performing as a guest artist with The Bang Group, David Parker’s company that does a lot of percussive dances, that weekend in Maine. I came back on a Monday night, and the audition was Tuesday morning. So I woke up at 7 AM, and started to shower, shave, and beat that face. By 10:15 AM, I was ready to put on my clothes.
Then I went in for the audition. I sang the songs, then told them I had a surprise for them. I sang my very own theme song “WHO SHE?” which includes a tap solo. They seemed to really enjoy it. That was how I got cast as the host. Our director, Victoria, loves drag and understands how much flexibility I need for this role. We have the script, but sometimes I have to feel the room. For example, there’s a time in the show when I ask, “Do we have any birthdays in the house tonight?” If an audience member yells, “It’s my birthday,” I can’t continue the show ignoring that. So for my role, I have things that are structured, but there are also all these things that can happen, and I have the full support to do whatever needs to be done in the moment.
CY: Every time I get a makeover, I feel like it’s a lot to have all that makeup on my face. Observing my friends has also taught me how much work it is to do drag and stay in it.
XD: It is a lot, Chloe, and many people don’t realize that. That’s why there’s a whole joke in the musical about tipping your drag queen, because Little House on the Ferry happens in 2010, and queens didn’t make much money in tips at that time. Nowadays, people are much more aware.
I’m not even the drag queen that spends all my money on this because I can’t. I have to survive. But it is at least like $1,400 you’re seeing on me. Sometimes, it’s $800 just for a human-hair wig and $350 for my tap shoes. It’s also very intense when I have to warm up my voice and body after focusing on makeup for about two hours. But I won’t be going up there to lip-sync for a whole hour in a solo performance. That’s not Xana. I like to sing. I like to tap-dance live. That’s my drag, and that’s how I got hired by The Duplex NYC.
CY: Yesterday, I saw Novaczar there after the show, and she was gorgeous. Can you tell us a bit about what it means to be a Duplex girl?
XD: I’m one of a few girls that have a residency there. Right now, it’s me, Novaczar, and Chaka Khanvict, who’re there every week. Then we have a few other drag artists on shorter runs — The Duplex is very good at giving opportunities to girls, and the folks there are just wonderful. The establishment serves as a welcoming haven for artists and anyone looking to enjoy themselves, whether it’s in the lively downstairs piano bar, or the upstairs area where the drag shows take place. Plus, we now have the Ferry’s Landing NYC space, which hosts our musical and some fantastic dance parties! I want to give a big shoutout to FLXX, Jeff, Wesley, and everyone else who brings the magic to life at The Duplex!
CY: That’s cool! And can you share a bit more about Xana and how you developed her? I’m curious about how she fits into your entire journey, from Brazil all the way to NYC!
XD: I grew up in Brazil. I moved to New York City to tap-dance 15 years ago. When I was little, there were all these things that I liked to do. I always loved dressing up, putting on makeup, and playing with hair. I had all the fake Barbies they sold in the street fair that happened every Sunday in front of the house I grew up in. I was the quintessential gay kid.
But I faced a lot of backlash growing up in the mid-90s, when bullying was condoned. I had this heavy feeling that something was “off” about me. Well, nothing was off about me — we know that now. But from a very early age, I knew I wasn‘t accepted, and I knew I had to behave a certain way to protect myself.
CY: Were your parents supportive and understanding?
XD: My parents were extremely supportive, but only to the capacity that they could be, y’know what I mean? They weren’t raised in a very liberal environment, and both came from very humble origins. They didn’t have a lot of information, and there was no internet at that time. So they were living in their own bubble.
They knew gay people existed. My father was a musician, who’d play in a bar where there was a troupe of drag queens that also performed there. I have four siblings — it’s a huge family. We weren’t the poorest, but we definitely weren’t well-off. There were times when food was an issue. So they couldn’t really stop to pay attention like, “Oh, this kid is different. How can we support him?” It was more like, “Honey, we gotta survive.”
CY: Thank you for sharing that, and for the vulnerability coming from such a glamorous queen! What other engagements do you have coming up?
XD: I have a show every Tuesday night at the Duplex. I tap-dance, sing, and answer questions from the audience. It’s a super fun time that usually starts around 10 PM, but sometimes we start a little later, depending on when I finish my previous show and change.
If you’d like to follow my Instagram, @xana.dume, that’d be awesome. My other Instagram is @galganni, which is my last name; that account features my tap dancing and teaching. If you visit my website, I can help you find tap classes, etc.
And y’know … if RuPaul’s Drag Race is ready for me … I’m just waiting for the call.
Chloe Yang (she/they) has bylines in BroadwayWorld, 360° of Opera, and more. A fangirl at heart, she’s had the privilege of interviewing luminaries such as Angel Blue, Hui He, Matthew Aucoin and Tracy K. Smith, yet finds the greatest fulfillment in lending her voice to community theaters and artists from historically underrepresented groups. When she’s not busy exploring NYC restaurants and museums all dolled up, Chloe can be found conspiring to lure more youths to the Metropolitan Opera. Follow her journey and say hi!