Interludes

VIEWPOINTS – Solo play revivals powered by masterful performances: Jesse Tyler Ferguson in TRU, Daniel Radcliffe in EVERY BRILLIANT THING

• By drediman
• March 23, 2026
• No Comments

This past week, I had the privilege of basking in the masterful performances of two A-list actors of stage and screen — both Tony-winners — who have taken existing vehicles and made them persuasively their own. As always, you can read on below for my thoughts on these highly anticipated solo play revivals.

EVERY BRILLIANT THING
Hudson Theatre
Through May 24

One of the more intriguing prospects this spring on Broadway is the opportunity to catch Daniel Radcliffe in Duncan Macmillan and Jonny Donahoe’s Every Brilliant Thing (RECOMMENDED) at the Hudson Theatre. I still recall seeing this inspirational and interactive play Off-Broadway, starring Donahoe, way back in 2014 at the then Barrow Street Theater (now the Greenwich House Theater). Who would have thought that Harry Potter himself — in a generous, open-hearted performance — would be taking the mantle in this deceptively intimate little “solo” show dealing with mental wellness on the Great White Way more than a decade onwards. In short, the unique play reminisces on the life of a man through the lens of a long list — which he started as a means of cheering up and inspiring his mother whenever her bouts of depression and thoughts of suicide would spring forth — of everything that makes life worth living. The list runs the gamut, from the cosmic to the most mundane notions, and is entrusted to the audiences to actively yell out when prompted by Radcliffe. This unique set up gives the whole affair an interactive and communal storytelling vibe (some audience members are asked to participate in a more involved manner than others) that ensures that no two shows are alike. As our guide and the engine that runs the show, Radcliffe is giving a tireless tour-de-force performance that radiates genuine warmth and ample charm, all but eradicating the didacticism that sometimes sometimes creeps into the writing. Totally in the moment and in control at every step of the 80-minute show, the Tony-winner proves himself to be a master of improvisation and manipulation. Directors Macmillan (who has been involved with the piece since the beginning) and Jeremy Herrin have succeeded in stealthily expanding the show to embrace the Hudson as if it were an Off-Broadway theater.

TRU
House of the Redeemer
Through May 3

If you’re looking for something a little more intimate, then may I suggest snagging tickets to the immersive revival of Jay Presson Allen’s Tru (RECOMMENDED), starring a perfectly-cast Jesse Tyler Ferguson as Truman Capote in the twilight of his storied life; Rob Ashford’s tasteful production also features the seductive presence of Charlotte d’Amboise. I still remember watching the 1990 Tony Awards as a stage-struck kid in upstate New York and being fascinated by Capote’s sophisticated and cultivated persona and Robert Morse’s Tony win portraying him. Frankly, I can’t think of a more ingenious venue for an intimate Off-Broadway production of Allen’s play — which is mostly culled from the Capote’s own words — than the House of the Redeemer’s gorgeously appointed library, which features original 17th century wood paneling and an ornate fireplace literally transplanted from Italy. Staged to make it seem like we are flies on the walls of Capote’s elegant Upper East Side apartment during Christmastime in 1975, the play is nothing less than an extremely up close and personal portrayal of the iconic writer and socialite, a regular fixture in the lives of New York’s rich and famous. Although the play loses a little bit of steam towards the end of its single act, Ferguson’s sensational turn is more than enough to forgive any of the writing’s flaws. The comedically gifted Tony-winner is a natural fit for role, nailing Capote’s distinctive mannerisms and speech patterns with uncanny and instinctual ease. Despite largely functioning as a solo show, you’ll also see veteran Broadway dancer d’Amboise prowling the room with ghostlike grace — sometimes sinister, sometimes longingly as the theatrical manifestation of the ghosts of Capote’s past (d’Amboise does have the opportunity to speak in one short but memorable scene) — a smart directorial decision, especially given that there are times when views of Ferguson are occasionally obstructed, a necessary feature of Ashford’s otherwise thoughtful and atmospheric environmental staging.