Howdy y’all. I’m Cat McCarrey, and I’m a Tuna virgin.
My lack of experience with the fictional “third smallest town in Texas” could be generational or regional. Either way, the four-play sagas of that tiny town, written in the Eighties and Nineties by Jaston Williams, Joe Sears, and Ed Howard, were complete unknowns until my own Texas residency. Even then, it had an air of “you had to be there,” the play. And while I’m sure it hits deeper for those who grew up in that sort of close-knit community, the loving sendup of country kooks can resonate with anyone.
When I learned of not one, but two different companies putting on the tale of Tuna’s trial-ridden Christmas Eve, I knew what I had to do: fully immerse myself in unexplored territory. So welcome to the fruits of my two-Tuna weekend.
The Cast
With only two actors per play, it’s easy to compare the skills of each company. Luckily, with roughly 10 characters per player, there’s plenty to consider. On the City Theatre side, we’ve got Scot Friedman and Rick Smith donning the wigs of Tuna denizens under Andy Berkovsky’s direction. Friedman adds soft sensitivity to each of his characters, particularly the town thug Stanley Bumiller, who comes across so appealingly hangdog that it’s hard to believe he’s spent years as the bad seed. Smith fills the good ol’ boy personality of bed-wetting sheriffs and UFO-spotting drunkards with John Goodman-style charm, while channeling just enough heartbreak as put-upon housewife Bertha Bumiller to add emotional weight to the story. Both do well, especially when embodying the many cross-dressing roles with Monty Pythonesque glee.
Penfold Theatre’s casting has more lore to it. In a Tuna twist, they initially advertised an all-women cast, but ultimately moved forward with Kirk Kelso and Will Mercer, directed by the original Tuna’s longtime stage manager Robert Tolaro, for the production. Of course all three have dwelt in Tuna before, and their experience radiates from the stage.
These are performances Kelso and Mercer could deliver in their sleep. That’s made clear from their obviously differentiated voice choices, from their ease at character quick changes, from their expert delivery of each punch line, optimally hit for maximum audience chuckles. Kelso knows exactly how to differentiate between his feline portrayal of chainsmoking weapons dealer Didi Snavely and the cowboy nature of radio personality Arles Struvie. Mercer goes between giddy waitress Inita Goodwin and queer-coded Joe Bob Lipsey with the slightest curve of the spine. They’ve been there, done that, and are doing it for Penfold.
The winner? Penfold squeaks ahead by a nose.
While I’m sure it hits deeper for those who grew up in that sort of close-knit community, the loving sendup of country kooks can resonate with anyone.
The Costuming
A good half of the joy in Tuna Christmas comes from the rapid-fire outfit changes as the two actors morph between characters. It’s a kick watching the same person play all three Bumiller children in a single 10-minute scene, or enjoying the handy hilarity of two Tastee Kreme waitresses and multiple diner patrons cleverly moving on- and offstage. Both productions used robes and slippers and hats to great effect. At Penfold, Pam Friday’s festive costumes kept the Christmas spirit, topped by Christina Little-Manley’s wonderful wigwork. Little-Manley also did the wigs and costumes for City Theatre, adding a dash more dresses to the feminine character lineup. It all came down to Bertha’s homemaker dress and Didi’s electrified fright wig, both of which worked slightly better at City Theatre.
The winner? City Theatre, by a wig hair.
The Direction
There’s only so much that can be done with the minimal presentation of a play like this. It’s mostly told with plenty of pantomime, against a bare-ish backdrop filled with a single table and two chairs, and with a script that’s essentially quippy conversations. There’s not a ton of fights or chases, is what I’m saying here. It’s two actors talking. Even the actions are small: running to the phone or peering out the window, gesturing a sip of coffee or snarfing breakfast buns. Honestly, the two productions are mostly identical in movement. The most variation comes down to the sides of the stage, sometimes functioning as mirror images. Waitresses talk on stage left versus stage right. Pearl sits on different sides of the table. Basically, they’re both following those stage directions to the letter.
The winner? A tie. It’s like picking your favorite fingernail. Maybe there’s a snag here or there, but they’re basically the same.
The Verdict
Are you city north or suburb north? Because travel time – to Penfold in Round Rock, or City Theatre in Cherrywood – should probably be the biggest factor in which Tuna tickles your fancy. If you’re the Tuna type, either show should satisfy.
A Tuna Christmas
Penfold Theatre (Through Dec. 28)
City Theatre (Through Dec. 21)
Editor’s Note: This story has been updated to remove mention of the reasons for changes in Penfold’s production due to a conflicting report of those reasons.
This article appears in December 19 • 2025.