'Tru' review — Jesse Tyler Ferguson is captivating as the troubled, complex Truman Capote

Read our review of Jay Presson Allen’s play Tru, now in performances at the Menier Chocolate Factory to 14 November.

Summary

• Tru comes to London's Menier Chocolate Factory
• The show centres on the legendary Truman Capote following his fall from grace
• Jesse Tyler Ferguson is captivating in the role
• Paul Farnsworth's immersive design transforms the theatre into Capote's New York home

After a flamboyantly over-the-top appearance as Herod in Jesus Christ Superstar, Jesse Tyler Ferguson continues his London residency in the very different role of legendary writer Truman Capote. Jay Presson Allen’s one-man show follows Capote during the aftermath of his social exclusion after publishing the first chapter of his book Answered Prayers, a gossipy exposé of his socialite friends, nicknamed the ‘swans’. Capote was at the heart of New York society and was trusted with intimate secrets, but his decision to reveal private and highly personal details made him an immediate outcast.

Ferguson is captivating in the role: camp, catty, and totally unapologetic. Capote is a distinctly unlikable character in many ways, categorising his friends into ‘A’ or ‘B’ lists in a conversation with his florist and name-dropping at every opportunity. But Ferguson also elicits a huge amount of sympathy for this damaged man who struggles with alcoholism, narcissism, and, ultimately, acute loneliness. It would be easy to tip into parody of Capote’s unique vocal pitch and intonations, but Ferguson strikes a considered balance.

Capote makes and receives multiple phone calls, also interacting with the audience in a monologue as he reflects on his life choices and career. Director Rob Ashford ensures Ferguson uses the entire space, along with Charlotte D’Amboise, billed as The Swan. D’Amboise floats around ethereally, a mainly silent spectre at the downfall of Capote, but also a symbol of his betrayed friends, portraying deep distress at his treachery.

It is helpful to know some of the background of Capote’s social disgrace as Allen’s script occasionally meanders too much. However, it clearly captures a man unwilling and unable to take any responsibility for his own actions. Capote’s offhand revelations about his alcohol addiction, suicidal thoughts and the casual dismissal of his own mother’s suicide illustrate a defence mechanism, along with a seemingly nonchalant approach to what his life has become. Ferguson shows fleeting, yet heartbreaking, cracks in the arrogant and defiant veneer.

After the gorgeous styling of the theatre during the recent run of Midnight at the Never Get, the Menier ups the ante. It’s unlikely you will see a more detailed and thoughtfully contructed set: Paul Farnsworth’s utterly immersive design transforms the whole space into Capote’s New York residence, complete with handwritten notes, his collection of paperweights, crammed bookcases, and framed photos on every surface. It feels like a deeply personal space into which we are invited. Seating is dotted around on sofas, armchairs and stools so audiences feel they are an active and valuable part of the production.

Jamie Platt’s gorgeously cosy lighting uses glowing lamps and subtle wall lights to convey the domestic space, with a stark white spot used to track The Swan and a very effective moment when she opens the curtains to reveal the harsh bright light of a winter’s day as Capote struggles with a raging hangover.

Tru is a unique opportunity to become completely enveloped in the life of Capote for 90 minutes. An effective and affecting insight into a troubled and complex man.

Tru is at the Menier Chocolate Factory to 14 November. Book Tru tickets on LondonTheatre.co.uk

Photo credit: Tru (Photos by Johan Persson)