Primary Trust

Orphaned at 10, now nearing 40, Kenneth leads a solitary life, a life of extreme alienation. He’s a black man and has worked for 20 years at a second-hand book shop in a small, predominately white, town outside of Rochester, New York. His only friend is Bert, also black, and they spend many hours together drinking Mai Tais, Hawaiian rum cocktails, in a local bar. But we soon discover that Bert is wholly imaginary. Kenneth is in real trouble.

To make matters worse, Sam, the owner of the book shop, announces that he is selling the business and is moving to Arizona for his health. Despondent, with not a clue what he will do when Sam leaves town in two weeks, Kenneth seeks wisdom from more Mai Tais and from Corrina, a waitress who suggests he should apply for a vacant job at local bank Primary Trust.

And just like that, despite bombing the interview badly, and despite his serious lack of social interaction, Kenneth becomes a bank assistant and we see how he copes with a range of everyday banking problems. Fortunately, he finds people who will give him a try. By the end, his boss says he is ‘selling like a bastard’ and presents him with a framed plaque for ‘Bank Seller of the Year’.

This play won author Eboni Booth the 2024 Pulitzer Prize for Drama and its smallness in size hides many big ambitions. In a quiet way it covers its pretensions extremely well and makes a deeply moving statement about how extreme alienation can be overcome.

The company at the Ensemble have made a feast out of this small, delicately presented portrait of loss and loneliness. As Kenneth, Charles Allen is extremely good as his lifelong burden is gradually lifted and he is allowed to see into the future. 

Peter Kowitz plays Kenneth’s two bosses, each at the extreme edges of possibilities, each memorable. He also plays a memorable number of small parts.

As does Angela Mahlatjie, as a string of waitresses and bank customers, of complainers and truth tellers, each delineated and presented with truth and care.

Bert, the one true, life-long (imaginary) friend of Kenneth, is played by Albert Mwangi, as a worried, caring man. As his alter ego grows in confidence, so Bert gradually fades away.

This production is in the capable hands of Darren Yap, and he has made the very most of his opportunities. The set and costumes by James Browne, lighting by Verity Hampson, and sound by Max Lambert and Roger Lock are fine.

Frank Hatherley

Photographer: Prudence Upton