‘Primary Trust’ @ Dallas Theater Center
Photos by Taylor Staniforth / TayStan Photography
—Rickey Wax
Grief is a peculiar thing.
It lingers, it festers, and sometimes, it becomes an unseen companion we carry through life, just as Kenneth does in Primary Trust, the poignant and deeply affecting play by Eboni Booth that won the Pulitzer Prize for Drama in 2024. (This is a co-production with Stage West Theatre, and the play’s area premiere.) Developed at the 2021 Ojai Playwrights Conference, this work examines the nuances of trauma and loss, and the mechanisms we construct to survive in a world that refuses to stand still.
Staged by the Dallas Theater Center in the intimate black box space of Bryant Hall, Primary Trust—directed by Sasha Maya Ada—is a poignant study in subtlety, emotional depth, and the human capacity for change.
As the lights come up, we see Kenneth, played by Lee George, standing alone in the middle of the stage. Around him, highway signs read “Welcome to Cranberry” (a suburb forty miles east of Rochester, New York). Kenneth introduces us to his town: post office, a church, two banks, and a wine shop just opened across from the train station. He describes his life in a matter-of-fact tone that hints at something deeper. “I’m not religious. I don’t believe in Heaven or Hell.”
But there is one place where he finds comfort—New York’s oldest tiki hut, Wally’s, where he orders two-for-one mai tais most evenings with his best friend Bert. Played by Jamal Sterling, Bert has been Kenneth’s closest companion since Kenneth’s mother died when he was a boy, leaving him alone in Cranberry.
There’s just one catch: no one else can see Bert.
Kenneth’s world is structured, predictable, and safe—until his longtime boss, Sam (Brian Mathis), delivers news that upends it all: He’s closing the bookstore where Kenneth works, and moving to Arizona. He hands Kenneth three months’ severance and a simple piece of advice: “ Don’t mention Bert in your interviews.”
For the first time in twenty years, Kenneth has to figure out what comes next. Determined to move forward, Kenneth lands a job at Primary Trust, a local bank. There, he meets Corina, played by Tiana Kaye Blair, whose performance is a highlight of the show. Blair shifts between multiple characters (she plays a hilarious series of Wally’s waitresses) with ease, bringing each one to life with distinct energy and precision (and minimal props: hair scrunchie, glasses, cardigan). As Corina, she offers Kenneth a chance at something new, nudging him into a world that doesn’t fit into his carefully crafted routine.
Booth’s writing captures the weight of Kenneth’s grief and social anxiety with incredible nuance. His hesitations, awkward pauses, and overanalyzed interactions show the toll of years spent living inside his own head. Bryan Stevenson’s lighting design amplifies this tension—above Kenneth, shifting multi-colored lights mimic his thoughts as he processes every conversation and moment of change. Meanwhile, Claudia Jenkins Martinez’s sound design incorporates a recurring “ding”—a subtle but powerful cue that hints at Kenneth’s inner dialogue, his fears, and the intrusive thoughts he struggles to push aside.
As Kenneth settles into his new job, he starts to imagine a future beyond his routines. But something shifts—he hasn’t seen Bert in a while. When Bert finally appears, he seems distant. It’s a quiet yet devastating moment. The person—or rather, the idea—that has kept Kenneth company all these years is starting to fade. Bert, once his anchor, now seems like something/someone he needs to let go of.
A turning point comes when Kenneth misreads a situation at the bank, leading to a misunderstanding that spirals out of control. Overwhelmed, he reacts poorly, and suddenly, his fragile sense of progress is at risk. The set, designed by Allen Dean, plays a crucial role here: the same table that served as both his teller booth and his usual spot at Wally’s begins to rotate, visually representing the way his world is shifting beyond his control. The message is clear: Kenneth has spent so much time holding on to the familiar, but change is inevitable.
Brian Mathis delivers a strong performance not only as Sam the bookstore owner, but as Clay, the fun loving bank boss who enjoys reliving his high-school football glory days. The two actors (Blair and Mathis) who switch among roles bring a fluidity to the world around Kenneth, highlighting how life continues to move even when he feels stuck.
Lee George’s portrayal of Kenneth is deeply affecting. He embodies a man who is trying—really trying—to find his place while carrying the weight of a loss he hasn’t fully processed. Watching his journey unfold is both frustrating and cathartic. His silences speak as loudly as his words, making every moment feel earned and honest. Alongside him, Jamal Sterling’s Bert is a steady, loving presence, but not just in the way imaginary friends often are. He’s the voice that has helped Kenneth survive—but he’s also the voice urging him to finally live.
Primary Trust is about loss, transition, and the complicated process of moving forward. Kenneth’s journey isn’t just about finding a job or making a friend—it’s about breaking free from the cycle of staying safe, and learning to exist without the things he’s leaned on for so long.
The play doesn’t tie everything up neatly, but that’s what makes it resonate. It’s honest about the fact that healing takes time and that sometimes, moving forward means letting go of what once felt essential.
Sasha Maya Ada’s direction brings this all to life with a light but intentional touch. The pacing allows the play to breathe, letting quiet moments carry as much weight as the bigger confrontations. There’s nothing forced about the storytelling—just a careful, thoughtful unfolding of a character learning to exist in a world that keeps changing around him. It’s a story about grief, and about the fear of stepping into the unknown.
But more than that, it’s about the quiet victories that come with finally choosing to move forward.
WHEN: FEB 27-MAR 23, 2025
WHERE: Bryant Hall, 3636 Turtle Creek Blvd., Dallas
WEB: dallastheatercenter.org
