Theater review: Tuna Does Vegas at Casa Manana Theatre in Fort Worth

by Mandy Rausch of John Garcia's The Column

The pleasure of getting quite possibly one of the few remaining chances to see Williams and Sears in their respective roles make this a delightful evening at the theatre.

Joe Sears and Jaston Williams in Tuna Does Vegas

There's something comforting and satisfying about being able to laugh at your own kind, and it's as good an explanation as any as to why the installments of the Greater Tuna series by Jaston Williams and Joe Sears (who also star in the touring productions) and Ed Howard (who serves as director) have, at least in Texas, gained a loyal following.

The series began as a skit based on a political cartoon in the early 1980s, and the Austin-based trio of creators expanded upon the sketch to create Greater Tuna, a play about the quirky residents of Tuna, Texas, the third smallest town in the state, "where the Lions Club is too liberal and Patsy Cline never dies."

This original production, dripping with satire and peppered with jabs at the Moral Majority, was a hit and, by 1985, was the most produced play in the United States (source: GreaterTuna.com). Now, over 20 years later, both regional and community productions are still being performed to side-splitting laughs and sold-out audiences across the country.

The next three installments, though still containing the occasional jab at Southern Baptists and right-wing extremists, are much less politically-driven and instead continue the stories of the characters introduced in the original. Being able to identify with and poke fun at a these fun and sometimes over-the-top characters and yet still make them lovable has helped this talented trio (Williams, Sears and Howard) to create three distinctly different and individually successful entities to follow the first: A Tuna Christmas; Red, White and Tuna; and Tuna Does Vegas, the latter now running through Valentine's Day at Casa Mañana Theatre in Fort Worth.

While it is not necessary to have seen or read the previous three chapters in the Tuna anthology, it certainly aids in the understanding and appreciation of the characters.

Fortunately, by the time the denizens of Tuna hit up Sin City in the fourth play, the authors have weaned out some of the weaker characters and kept some of the best and funniest to develop and bring back for more. I saw a community theatre production of A Tuna Christmas this past holiday season and managed to get my hands on and read the script to Greater Tuna before seeing this show, so I jumped at the chance to see my old pals again as they returned to Fort Worth, and count myself fortunate to have had the opportunity this go-round see them portrayed by their creators.

There are 18 different characters in Tuna Does Vegas, and all are played by either Williams or Sears. Some, as I mentioned, are favorites who have returned from previous installments, and newcomers to the Tuna universe will hear the laughter and applause before a line is even spoken when characters such as Didi Snavely, Helen Bedd and Inita Goodwin, and Charlene Bumiller make an entrance. There are also some delightfully wacky newcomers introduced and, as any play set in Vegas worth its salt should have, a couple of Elvis impersonators past their prime.

Costume changes between characters are made offstage, and very quickly, thanks to what must be a Johnny-on-the-spot wardrobe team (supervised by Karen Jones, who is also credited for the quick-change design of the costumes), but even with such necessary quick changes, costume designer Linda Fisher doesn't skimp on quality or visual comedy. The get-ups that Helen and Inita appear in as they attempt a job as Vegas showgirls are particularly flashy and hilarious, and the costume for Charlene Bumiller Pugh in her brief appearance caused almost a full minute of laughter (I personally laughed to the point of tears; Charlene is one of my favorites!) before Williams could even say Charlene's first line.

These quick costume changes and shifts in character are handled nearly flawlessly by Williams and Sears (to be expected after two decades of performing them). Slight variations in posture and vocal inflection are all they need to create an entirely different persona. There were a few costume changes that seemed to take a bit longer than others, and occasionally one accent and voice blended into another without much variation, but because of the heavy load these two actors bear in this production, it's easily forgivable.

Each character is equipped with an arsenal of caustic one-liners (one of my favorites being "You're meaner'n Mary Todd Lincoln," followed by the snappy retort, "You go so far back – what was she like?"), keeping the audience members on their toes so as not to miss a joke. Williams and Sears know exactly where their jackpot lines are and compensate well; their timing with the audience and with each other is impeccable. They also know their audiences very well and milk the cheap jokes accordingly – resulting in screams of laughter every time.

Tuna Does Vegas is not my personal favorite of the four; I'm partial to the yuletide version myself. However, the new characters introduced (Anna Conda being my favorite of the evening) and the fortune and pleasure of getting quite possibly one of the few remaining chances to see Williams and Sears in their respective roles were more than enough to make this a delightful evening at the theatre and well worth the lofty price tag for this event. My guest and I left with smiles on our faces and — just maybe — a bit more twang to the Texas accents we've been so carefully trained to hide onstage.

Treat your Valentine this weekend and take a trip to Tuna, Texas by way of Las Vegas – and be sure to bring some quarters for the vibrating bed.