William Sturdivant and Bryce Michael Wood Photo by Dan Norman

Since then, Primary Trust has become one of the most-produced plays among regional theatre companies. A cursory search turned up fifteen, and ten more scheduled for the 2025-2026 season, including the current staging at the Guthrie Theater in Minneapolis. Now that I have seen Primary Trust, I understand why it has been so sought after and greeted with hosannahs. In brief, I loved Eboni Booth's play, was wowed by the Guthrie's production directed by Marshall Jones III, and can't wait to see it again.

Primary Trust takes its name from the financial institution at which its central character, Kenneth, finds a job. The play is set in a fictional small town called Cranberry, about forty miles from upstate Rochester, New York. Kenneth is a 38-year-old African American man. Up till now, he has only worked at a used book shop called Yellowed Pages (I appreciate bookstores with clever names, so Primary Trust scores a bonus point for this, not that it's needed.) Kenneth worked there for twenty years, until the store's crusty owner, Bob, decides to close up shop and move to Arizona.

Kenneth never considered what kind of career path Yellowed Pages afforded him. He is not that kind of guy. Nope, Kenneth is the kind of guy who tells anyone he engages in conversation long enough that he was orphaned at age 10 when his mother died, and that his favorite place in the world is Wally's Tiki Bar, where he drinks Mai Tais (a lot of them) most nights with Bert, his best and only friend. Kenneth got the job at Yellowed Pages with the help of his caseworker when he aged-out of the orphanage. The prospect of seeking out and landing a job on his own, with little to show for twenty years at the bookstore, is daunting.

Three things help Kenneth in his pursuit of employment. One is a surprisingly empathetic manager at Primary Trust, named Clay. Second is a sensitive waitress at Wally's named Corrina, who approaches Kenneth as a real person, unlike the gauntlet of waitresses, different ones each night, who greet him with rehearsed artificial welcomes, speeches about the night's specials., and/or shameless flirting. Third is Bert, Kenneth's devoted friend, who turns out to be more than and less than meets the eye.

We recognize Kenneth's flaws and deficits, but also can see his assets as we cheer for him to find success, not only in employment, but on all counts. At the end of the day, the make-or-break factor rests on the strength of friendships. Indeed, the play introduces itself as a story about friendship, and it handily makes good on that intention.

Director Marshall Jones III balances the play's buoyant and abundant humor with the pathos that marks Kenneth's circumstances–how many "Kenneth's" are out there drinking Mai Tais, or something of that ilk, night after night? His life is fraught with hazards, but Kenneth seems to have help from the cosmos. For every step off the curb into traffic his narrative takes, there seems to be a guardian angel crossing guard to deliver Kenneth safely across. These aren't miraculous acts, just acts of caring, compassion, and paying attention to one's fellow man, things any human being on the planet has within their power to offer. Only the infrequency with which that actually happens makes them seem amazing. Jones taps into that, making Primary Trust a delicious comedy and a thoughtful exhibition of the suggestion made by the play's title: the primacy of trust, which is the foundation of friendship.

Bryce Michael Wood displays a keen understanding of Kenneth's predicament, knowing when to lean into the fictions that enable him to endure his trials, and when to step back and look at the painful truth that haunts him. He makes us believe that Kenneth simultaneously feels like he is living a darn good life and that he is constantly walking on the edge of an abyss. Wood brings out Kenneth's awkwardness, socially and physically, as well as his immense likeability. It is a fantastic performance by an actor who is new to Twin Cities audiences.

Nubia Monks, who is becoming an indispensable presence on Twin Cities stages, is a delight as open-hearted Corrina, expressing a genuine humanity that is exactly what Kenneth needs at this moment. Corrina is a person who finds joy in the sundry events of life while also being a safe harbor for one suffering the pain of loss and inner demons. The pliable Monks also serves up the round of other Wally's waitresses, creating a spectrum of personas with distinct accents, come-ons, and attitudes. She also portrays the various bank customers who come to Kenneth's window at Primary Trust, ranging from those pleased with his thoughtful advice to those who make trouble for him.

William Sturdivant is remarkable as Bert, a friend anyone would want to have on their side, always cheering Kenneth on but also able to tell him hard truths. That Kenneth is too dependent on Bert becomes clear. Sturdivant embeds Bert with this awareness, withdrawing his presence, while always maintaining affection and a gentle hand for his friend. Pearce Bunting is swell as the curmudgeon bookseller who clearly has a soft spot for his faithful employee, and as Clay, a bank manager caught up in his glory days on the football field, but with a heart of gold.

Sara Ryung Cement's scenic design is spot-on. Wally's Tiki Bar is always on stage, its bright red Naugahyde booth serving as the focal point of Kenneth's life, and its tacky wall décor and garish roadside sign creating the feel of a sub-par joint. A cut-out miniature profile of a small town is visible throughout, maintaining the story's sense of place. The crowded quarters of the used bookstore slide on and off stage, as does Clay's bank manager office, the teller's station Kenneth is assigned to, and a swank restaurant that Corrina and Kenneth sample in a delightful scene in which Kenneth learns there are drinks other than Mai Tais.

An-Lin Dauber's costumes help to define each of the character (Bert's diamond-patterned V-neck cardigan couldn't be more perfect), and Jason Lynch's lighting design and Lindsay Jones' sound design and composition enhance each scene without calling attention to themselves. Joey Miller, as movement coordinator, ensures that the actors' physical engagement has the feel of authenticity.

At a time when dealings among different factions in our world are increasingly disturbing, Primary Trust is a welcome tale of human resiliency and the power of one person's kindness to another. In the course of the play's 95 minutes (no intermission), a character states that if you have one of anything, you have enough–even one friend. That thought may oversimplify life's challenges, but as presented in this bountiful play, it delivers a belief that finding happiness rests not on amassing volumes, but on finding a single truth. The rock song "Jump" played as walk-out music gives us an extra push to take this life-affirming message with us out to the street.

I give Primary Trust my highest recommendation.

Primary Trust runs through November 16, 2025, at at the Guthrie Theater, McGuire Proscenium Stage, 618 South 2nd Street, Minneapolis MN. For tickets and information, please call 612-377-2224 or visit GuthrieTheater.org.

Playwright: Eboni Booth; Director: Marshall Jones III; Scenic Designer: Sarah Ryung Clement; Costume Designer: An-Lin Dauber; Lighting Designer: Jason Lynch; Sound Designer: Lindsay Jones; Dramaturg: Faye M. Price; Vocal Coach: Keely Wolter; Movement Coordinator: Joey Miller; Resident Casting Director: Jennifer Liestman; NYC Casting Consultant: McCorkle Casting, Ltd; Stage Manager: Lori Lundquist; Assistant Stage Manager: Marisa B. Tejada.

Cast: Pearce Bunting (Sam/Clay/Le Pousselet Bartender), Nubia Monks (Wally's Servers/Corrina/ Bank Customers), William Sturdivant (Bert), Bryce Michael Wood (Kenneth).