PlayMakers Repertory Company Hits All the Right Emotional Notes with "Primary Trust"

Nate John Mark and Rasool Jahan star in PlayMakers Repertory Company's production of Primary Trust. Photo by HuthPhoto.

There are some plays that transport you to a world that feels real, plays that bond you almost instantly to their characters and allow you to live in and empathize with their lives, no matter how different they may be from your own. Primary Trust, a beautiful, incredibly touching play by Eboni Booth, onstage now at PlayMakers Repertory Company, is one of those plays. Booth’s subtle-but-emotional writing, NJ Agwuna’s sensitive direction, and Lex Liang’s incredible scenic design combine with profound performances to deliver something truly special.

 The story opens with a (mostly) cheery introduction from the central character Kenneth, portrayed by a perfectly-cast, always-smiling Nate John Mark. As he shares the details of his simple life—he works in a bookstore and drinks nightly Mai Tais at Wally’s tiki bar—he also alludes to more troubling matters, like racism he’s experienced and the death of his mother. Whenever he veers too close to one of these memories, a bell dings, and he moves on with his smile back in place.

Clad in sweet, unassuming sweaters, courtesy of Liang’s thoughtful costume design, Kenneth gives the aura of a young Mr. Rogers, and the set is reminiscent of the classic kids’ show as well. To represent Cranberry, New York, the small 90s town where Kenneth has lived for his entire life, Liang has created a map-like set with miniature buildings atop bright green grass and a fearsome mountain of possibility looming in the distance, all cheerily but somewhat forebodingly lit by Eric Norbury. These detailed buildings—they even include trash cans and other tiny features—aren’t mere models. They actually open and turn into different set pieces, such as a fancy restaurant table and a desk where Kenneth interviews for a new job.

That new job is the catalyst for much of the action in this character-driven show. Well, to be fair, it actually starts with the loss of Kenneth’s original job, at the Yellowed Pages bookstore, a position he’s held since he aged out of foster care twenty years ago. When Kenneth loses that constant in his life, he turns to two other constants: Wally’s and his best friend, Bert (Samuel Ray Gates). 

The interesting thing about Bert, the audience soon discovers, is that he’s imaginary. Kenneth tells us Bert isn’t imaginary in the way we think . . . and then proceeds to describe exactly what we think. Only Kenneth can see Bert, and they’ve been best buds since Kenneth was ten years old. Appropriately, Bert is clad in slick 70s garb, the same clothes he’s been wearing since Kenneth met him all those years ago. He helps Kenneth with things like calming down via counting and breathing and responding correctly to interview questions. Though Bert has a wife and children of his own, he’s also always good for a late-night drink (or ten) at Wally’s. 

As the play reminds viewers, life, even a life marked by careful, protective routines, has a way of changing, and big changes are in store for Kenneth, whether he likes it or not. His visits to Wally’s bring a new friend, Corrina (Rasool Jahan) into his life, and his new job at the bank brings customers to serve and an understanding, jovial boss named Clay (Jeffrey Blair Cornell). As his world enlargens, things Kenneth has always held dear, like his connection to Bert, start to fray, and he’s left to deal with his mixed emotions and the decision of whether or not to embrace the world that’s opening up around him.

Nate John Mark handles this complex role with ease. Mark is so believable, in fact, that viewers will want to reach out and hug him. He plays the character with a childlike innocence and an incredible emotional range. Even on the rare occasions when Kenneth allows himself to get angry, Mark showcases his frustration and rage in a way that is understandable, that still allows viewers to believe in Kenneth’s goodness. And, when Kenneth delivers the chilling monologue in which we finally learn the true story of Bert’s origin, it’s done with such startlingly beautiful vulnerability that it creates an indelible impact.

Mark’s fellow actors also have a heavy load to juggle. Gates has the challenge of moving, standing, and sitting in a way that makes it clear he’s invisible to everyone but Kenneth. Fortunately, Agwuna’s careful staging and Gates’ easy fluidity get the job done. Gates also uses a deep, soothing voice that makes Bert feel powerful and that helps us understand Kenneth’s attachment to him. 

Both Cornell and Jahan are tasked with moving in and out of various characters, though Jahan, in particular, has to do so at an alarming speed. Quick hat changes allow her to transform into bank customers, several servers, and, of course, Corrina, a role that she plays with such a lovely tenderness that it reminds viewers what true kindness is. 

Speaking of kindness, Cornell’s renderings of both Sam, Kenneth’s first boss, and Clay are marked by the perfect spark of compassion and understanding, with each character handling these traits in their own, clearly distinguished ways. While Sam takes a shrug-and-let-people-be-themselves approach, Clay has a deeper sensitivity, shaped by his own experiences. Cornell plays Clay with a slap-on-the-back, just-one-of-the-guys energy that belies his perceptivity and helps create a wonderfully complex, multi-layered character.

In truth, all of the characters here are complex and multi-layered. Even the musician (Alex Thompson) has some tricks up his sleeve. Booth has written a magnificently insightful slice-of-life play that allows us to peer into the kind of lives, the sort of hidden trauma, that people live and live with every day. Yet, her approach is so delicate that it never feels voyeuristic. The PlayMakers team has managed to capture all that is beautiful and nuanced in her writing and bring it to life in a way that feels visceral and that will stay with viewers indefinitely.

-Susie Potter