Review: Tru (Menier Chocolate Factory)

Review by Daz Gale

⭐️⭐️⭐️⭐️

Though producing high-quality shows is nothing new for the Menier Chocolate Factory, with many acclaimed shows under their belt not to mention West End and Broadway transfers, the intimate but versatile space in London Bridge managed to turn heads a couple of short months ago with its drastic transformation for Midnight At The Never Get. Anyone expecting the space to return to its usual configuration will have another surprise with their latest offering, as the London premiere of Tru ups the ante to cement it as one of the most exciting theatre spaces in London at the moment. As audiences are invited into the home of the legendary Truman Capote, would this Truman show prove to be the tru deal, or would audience members swan off into the London night longing for more?

Transferring to London after a sell-out success in New York, Tru sees Jesse Tyler Ferguson star as the legendary author Truman Capote. Set inside his New York apartment in 1975, Tru is alone and dealing with the fallout following the publication of an excerpt from his tell all novel ‘Answered Prayers’. Finding himself alienated from his high society friends, he takes the opportunity to reflect on his life and career whilst dealing with his loneliness, addiction and complex relationships.

The first thing to mention here is the remarkable transformation of the space at the Menier Chocolate Factory. Though they have hosted many different configurations over the years, Midnight At The Never Get offered something bold and distinct for them. Tru takes that same goal and elevates it to the next level, rendering the venue unrecognisable. There is no stage to speak of, just an impressively detailed replication of Tru’s apartment with the audience sat in every conceivable space they could find. As well as more conventional rows of seating surrounding the apartment, audience members can also take seats in armchairs, tables and couches that form part of the set. One thing to note is aside from these handful of seats that are available to purchase for each performance, the rest of the seating is completely unreserved, so this is one show where I would recommend arriving earlier than usual to ensure you get a good spot and can find seats together if you are going with multiple people. In terms of tips for where to sit, however, Ferguson laps the set repeatedly, sitting in multiple places ensuring you will find yourself close to him no matter where you sit.

There are two people to celebrate for this bold and distinct choice. First, Paul Farnsworth’s set design is absolutely astonishing. If theatre at its best offers complete escapism, what Farnsworth has created with this set makes it easy to forget you are actually in a theatre in London Bridge in 2026 as opposed to Truman Capote’s apartment in New York in 1975. The attention to detail is absolutely exquisite, and second-to-none. Every single inch of the space has been carefully considered, from the design of the ceiling, the decor of all the different styles of chairs and throws that adorn them to the intricate detailing of photo frames, library books and various props. With Capote picking up many of these and referencing it, this would take more skill and planning than the average set and the result is truly jaw dropping.

Then there is Rob Ashford who has to direct such an unconventional space, retaining the supposed conventions of theatre while simultaneously ripping up the rulebook and giving the perception the audience are invited guests to Capote’s home. The direction of where Ferguson needs to go at each second is quite astonishing to witness. There are moments where he addresses individual audience members or goes to hold their hand - I myself found myself nearly nose-to-nose with Ferguson as he locked eyes with me, creating an intense but unrivalled connective experience that makes Tru so astounding to be a part of. The result is a very special night at the theatre unlike anything I have ever experienced before.

What lets the production down ever so slightly is the writing. Though Jay Presson Allen has written a solid show in itself, there are moments where it fails to take off with a spark never turning into a flame. Running at 85 minutes with no interval, it is certainly a pacey affair though does feel like you are in the theatre much longer than that due to the nature of the piece. In that time, Allen offers intrigue as a reflective Capote ponders his life, bringing up themes of loyalty, loneliness and the determination to unashamedly be yourself. Certain themes are touched on a bit too fleetingly, never given the gravitas they deserve and while it can make for some interesting dialogue, the opportunity for these to be expanded and perhaps offer some of the bite associated with its subject matter would have allowed the writing to match the excellence of the design and direction.

If there is one reason to see Tru, however, it is to marvel at the magnificence of Jesse Tyler Ferguson. A truly gifted actor, how he embodies Truman Capote really is nothing short of sensational. From the voice to the mannerisms, this doesn’t so much feel as a performance or an impersonation as it does a possession. You forget you are watching Ferguson and Capote, and believe you are watching Capote himself - that is the mark of a good actor, and Ferguson is a great one. His stage presence, even with the lack of a conventional stage, is incredible, bringing a powerful and mesmerising force that proves impossible to take your eyes away from. Offering heart and humour throughout the performance, Ferguson brings nuance and depth to the character, charming the audience with his personality while wowing them with his faultless characterisation. One of the greatest character performances I have ever seen, Jesse Tyler Ferguson is reliably remarkable in this.

Though this may appear to be a one-man show, Ferguson isn’t actually alone on stage, with Charlotte D’Ambrose as the enigmatic Swan, a character seemingly representing the multiple women in Capote’s life who were known as his swans. Though it is a largely silent role, her movement speaks louder than many words, offering a striking and visually distinct performance that adds to the beauty and mystery of the production.

The Menier has been a favourite theatre space of mine for quite some time, and 2026 is seeing them go from strength to strength with audacious programming that sets them up as one of the more exciting spaces in London, and one that always has the ability to surprise. Tru is the perfect example of that, offering an experience like no other, retaining the reliable quality you get with the vast majority of productions there while giving the audience something unique and never seen before. Though it isn’t perfect by a long shotJoh, what Tru gets right puts it among the best I have seen this year. Though the design and direction are both excellent and impressive, it is the phenomenal performance from Jesse Tyler Ferguson that leads me to recommend this so highly. Tru is a chance to see a performer at the top of their game and to be blown away by their sheer magnificence. If you’re looking for a night like no other, when I say you can’t go wrong with this production, you know it’s tru.

Tru plays at the Menier Chocolate Factory until 14th November. Tickets from https://www.menierchocolatefactory.com/tickets/tru/

Photos by Johan Persson