Rating: 
Summary: Worthy for Die-Hards Looking to Progress
Review: ...This book is primarily dedicated to "The Harold," the standard of long-form improv. It's a difficult form to master, but one that can impress, entertain, and even touch both audience and actors profoundly on stage. There is a shortage of quick, easy games in this book. Even those that are detailed exist to help build on the Harold. This book is really meant for those who are ready to graduate to the next level of improv. Many people don't like the Harold, but all long-form comedy improv, at some level, uses some variant of the Harold. If this isn't what you want, spend your time and money finding out more about Paul Sills' Story Theater (which is, of course, not covered in this book). Be warned, though, Story Theater often isn't funny, and appeals more to art afficianadoes than "WLiiA" fans, and isn't as renumerative. Most of the book is given over to an explanation, not of performance standards or guidelines, but of the philosophy underlying improv in general, and the Harold in particular. If that's not what you want, go get another book. The standards in this book, moreover, are really intended for larger groups. The four-player format of "WLiiA" would be unable to keep up with a full Harold. Be sure you have enough actors ready to do the next big thing before you sink your money into this book. This isn't a beginner's text for amateurs, it's for those who have a committment to creating improvisational art. If that's you, this is your book. If not, you're in a bad way spending money on this puppy. Know yourself and your team before you invest your earnings on this slim volume.
Rating: 
Summary: The improv manual you're looking for
Review: Folks, there are two kinds of improv - the annoying kind and the enjoyable kind. This book is the only description of the enjoyable kind now in print. It's simple, straightforward and funny, and may change the whole way you think about comedy and theatrical presentations. The bad kind of improv, that is, the short, "we're under great pressure to be funny here" kind that leads to some clever punch-line on which lights are blacked out, is described in numerous books. The Harold, or long-form, is where it's at, as anyone who's seen both kinds of improv will tell you. (It's a shame the form is rarely practiced outside of Chicago.) Watching it is pure pleasure, because you're seeing players who support each other perform at the top of their intelligence and creativity. And doing it, well, there's nothing like it. This book will get you started
Rating:
Summary: A must-have for serious improvisers
Review: For people who perform, direct and teach improvisation, "Truth in Comedy" belongs on the bookshelf next to Johnstone's "Impro: Improvisation and the Theatre," Spolin's "Improvisation for the Theater" and Sweet's "Something Wonderful Right Away." Whether or not you're familiar with (or even interested in) Chicago-style long-form improvisation, ImprovOlympic's guiding principles are helpful in developing a troupe's approach and or a program's philosophies. Use the exercises to cure burnout in a group of experienced performers or guide novices away from jokey, gimmicky scenework. "Truth in Comedy" makes even more sense if you read it after checking out a show at Chicago or LA's ImprovOlympic or NYC's Upright Citizen's Brigade.
Rating:
Summary: Excellent start if you can't get up and do it.
Review: I didn't mean if you are in a wheelchair to read this book. Read it regardless, it teaches you about exploration and conversely, bottomlining. Coming in knowing an emotion instead of being blank and then just making your partner look bad. This book kicks short-form (and anything Groundlings) ass! You realize there is more to making your fellow scene partner squirm. It's about giving "gifts" of information. Very good. Read it!
Rating: 
Summary: Too much WANK!
Review: I found this book a waste of time. It was a real chore to get through as the authors spend half of the book blowing sunshine up Del Close's _______( fill in for yourself). The HAROLD is a form of improvisation for the self - centered. As I was reading its description I could ask myself only TWO questions: As a performer -why would I want to alienate my audience with my own self-indulgence? As an audience member - why would I want to watch something like this?. The authors discuss this improv form as though it is some sort of mystical, exclussive cult activity. No thanks. Keith Johnstone's IMPRO and IMPRO FOR STORY TELLERS are the only way to go if you are interested in improvisation that your audience will remember long after they've left the theatre. If you are more interested in the inner workings of your own mind - stay home and do a Harold with your friends.
Rating:
Summary: great for beginners
Review: I found this book to be very easy reading. I enjoyed it very much. When looking for basic information, easily understood
for a beginner, this book is wonderful. It teaches the very basics of courteous play with another improvisor, or a group.
I love the Herold!
Enjoy!
Lynn
Rating:
Summary: Harold?
Review: I have studied improvistation for over a year now and I have to say that the Harold is one of the most difficult to perform let alone learn. Moreover, the Harold is no good if it is performed by less experienced improvisors. The Harold is one of the more boring types of improv experiences that I have ever encountered. I have heard it best described as "An opening, three sets of scenes, a group scene, another three sets of scenes, another group scene, and finally the round up three scenes where the first laugh happens." How true this statement is. This book is the manual on performing this utmost boring improv form.
Rating:
Summary: You know Who??
Review: I think this book is a complete waste of time and merely serves as a lure to get people to take classes at the Improv Olympic theater in Chicago. It is incoherent and all it suffices to do is drop names the entire time. Wow, so famous people studied at IO then we all should. A complete ego stroke for owner Charna Halpern, but nothing new is taught here. Do yourself a favor, save the money on the book and actually go take classes. This is paperback trash.
Rating:
Summary: The Review
Review: I've been doing improv comedy on and off for about two years now, and I can honestly say that this book is the best one I've read on the topic. Reading Truth in Comedy is the next best thing to actually being on stage. Now I find myself "looking for the game" in a given scene and doing other such techniques advised by Charna Halpern and Del Close; two veterans, to say the least, of improv. I've read the book three times now and every time I pick up something new, it's just a book that keeps on giving! Besides being very informative this book also is quite entertaining. I recomend buying this book whether you have and interest in improv or not.
Rating:
Summary: Disappointing...
Review: If you think "Whose Line Is It Anyway?" is funny, and that's the kind of comedy you want to do, then this might help. I personally don't care for that. I was just looking for something to help me generate ideas on how to think on my feet as a public speaker. I didn't really find anything useful in this book for neither public speaking nor stand up. This only seems to be geared toward group comedy.
I don't know what all the good reviews are about.
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