Tru Off-Broadway Reviews

Spending an afternoon with this Capote is something you wouldn’t wish on his worst enemies — Jacqueline Susann and David Reuben, included. When Capote shakes his bottle of Tuinals, he gives us false hope that he’ll swallow its contents right th...

Spending an afternoon with this Capote is something you wouldn’t wish on his worst enemies — Jacqueline Susann and David Reuben, included. When Capote shakes his bottle of Tuinals, he gives us false hope that he’ll swallow its contents right there and then.

The play’s depiction of Capote doesn’t dig particularly deep, not offering much to those unfamiliar with the author’s literary output other than a colorful portrait of an eccentric figure in tragic decline. But it remains an engaging theatrical...

The play’s depiction of Capote doesn’t dig particularly deep, not offering much to those unfamiliar with the author’s literary output other than a colorful portrait of an eccentric figure in tragic decline. But it remains an engaging theatrical experience thanks to the vivid writing, much of it taken directly from Capote himself, and for the opportunity it provides for its performer. Ferguson makes the most of it, delivering a wonderfully entertaining portrayal that benefits greatly from the close proximity of the audience numbering less than a hundred. Restlessly wandering around the large room and often addressing people directly, the actor makes you feel as if you’re a treasured houseguest, even if he does take care to remove a supposedly valuable knickknack that might prove too tempting.

To describe Capote as self-involved is a laughable understatement. But thank the entertainment gods for that. He’s at his funniest throughout, and certainly when a Christmas gift of poinsettias is delivered, he’s an irate hoot. Miffed at the send...

To describe Capote as self-involved is a laughable understatement. But thank the entertainment gods for that. He’s at his funniest throughout, and certainly when a Christmas gift of poinsettias is delivered, he’s an irate hoot. Miffed at the sender’s clichéd inspiration he utters: “I’m giving stuff from Tiffany’s, and I’m getting poinsettias.”

The actor finely transforms into the writer, imitating his high-pitched voice and wardrobe like that of a mob boss on vacation (costumes are by Sam Spector). But about halfway through, Tru's momentum plateaus despite Allen's attempts to dive into the...

The actor finely transforms into the writer, imitating his high-pitched voice and wardrobe like that of a mob boss on vacation (costumes are by Sam Spector). But about halfway through, Tru's momentum plateaus despite Allen's attempts to dive into the darker side of Capote's psyche. He meanders into so many different areas of his life and career with no apparent logic — sometimes he's talking to us, sometimes to himself or the phone or the biographer as though we're suddenly not there — without ever reaching a dramatic peak. A scene in which a telephone operator recognizes Capote's voice and chats with him, momentarily freeing him and us from his own head, comes closest.