Theater Works Hartford’s production of Primary Trust, a play by Eboni Booth, directed by Jennifer Chang, explores the boundaries of a mind in its strengths and frailties. This story, set in Cranberry, New York (A medium-sized suburb of Rochester), narrows in on the life of Kenneth (Justin Weaks), who, at 38 years old, is exploring the stability of his singular friendship with Bert (Samuel Stricklen). Primary Trust peels back the layers of nuance with subtle nods to real-time issues that plague our world and how life, at the intersection of all that goes on—even in a medium-sized suburb—is impacted by each change in the proverbial tide of the immediate world around them.
Kenneth has built a life on the word of the people around him, leaving him at the mercy of the shifts in those people’s lives. Sam (Ricardo Chavira) takes him in as an employee at his bookstore and treats him well, forming a bond that becomes threatened when Sam’s health takes a turn. Coupled with the looming threat of gentrification, Sam cuts his losses and decides to do what’s best for his family. Caught in the shake-up of Sam’s life is Kenny’s stability. Through the change, one thing remains—Bert. Kenny’s best friend, Bert, is a source of joy and peace. Their 28-year friendship has seen Kenneth through the highs and lows of his life. The time they spend at Wally’s—a local tiki bar and Kenneth’s favorite place on earth—sets the tone for new moments with new people.
Even with the comfort that Bert provides, the inevitable shifts in Ken’s life lead to him meeting new people—Corrina (Hilary Ward). With these new people come ideas, conversations, and recommendations, and eventually, Kenneth finds himself working at a bank like his mother used to. One change leads to another, and before he knows it, his friendship with Bert is tested and threatens to blow up all of the other things in Ken’s life that were or have become stable. It’s up to Kenny to allow his life to unfold beyond the original scope of his comfort and embrace change.
In addition to a beautifully layered story is the contributions of a cohesive cast—Ward is vibrant and versatile, popping in as Betty, Paul, Carla, Ramona, Duncan, and other servers at Wally’s and bank customers while creating a delightful supporting character in Corrina. Chavira is hilarious in his cross-over roles as Clay, the ex-jock prone to reminiscing on his glory days, and as Le Pousselet’s bartender while setting a foundation of sincerity in his characterization of Sam.
Stricklen is a delightful inner monologue come to life to the tune of “You Got a Friend in Me”—he diligently embodies a conglomeration of all-in-one best friend, favorite teacher, big brother, father, counselor—and is reminiscent of the person-shaped safe spaces we’ve all encountered at one time or another. Stricklen portrays home in a human being.
Weaks is compelling and spectacular. He gracefully takes on the nuances of each truth as the layers of his past unfold. The delivery of awkward honesty and his portrayal of Kenneth, with a subtle Forrest Gump-esque earnestness, creates a delicate space in the hearts of audience members for Kenny that blurs the boundaries of stage and house, evoking responses from audiences that range from congratulations to laughter, and even tears. The brilliance of both Kenneth’s complexity and simplicity is beautifully woven into each line and associated movement.
The technical elements of this production only heighten the total experience. The set design, a beautiful strip of buildings with a focus on Kenneth’s second and third spaces—The bookstore, Primary Trust Bank, and Wallys—provides a grounding feeling in earthy tones that offsets the emotional intensity of some of the scenes. The lighting and sound combination by lighting designers Bryan Ealey and Frederick Kennedy creates a sort of Inside Out nod to Kenneth’s range of emotions and his emotional response to different moments throughout the play. Danielle Preston’s costume design plays intentionally into the character of Kenneth and those around him—especially that of Kenny and what comes to light about his childhood.
This production beautifully unpacks the complicated layers of grief. It encourages audiences to explore the memoriam, in their own minds, of the moments and people who contributed to a feeling of safety as realization unfolds around Kenneth’s imagination, his unprocessed trauma. Primary Trust is a brilliant story, careful in its intensity with intentional pockets of joy sewn in—the Theater Works Hartford crew honors the nuances of this story in this profoundly delicate production.
Primary Trust runs through May 11th—for tickets, visit twhartford.org
