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When Kenneth (David Castillo), a seemingly mature, middle-aged man, walks onstage and starts stuttering about his life, one can’t help but feel a strange, tender attachment to him. As the play progresses, Kenneth takes the audience on a rollercoaster ride of growth and vulnerability in “Primary Trust,” a SpeakEasy Stage production of the Pulitzer Prize-winning play by Eboni Booth that breaks typical theatrical productions by presenting an emotionally stunted yet complex character that the audience can closely empathize with.
With a diverse cast that skillfully depicts the mental health experiences of people of color, a whimsical set design that solidifies the production’s incorporation of humor, and seamless transitions between scenes with the aid of a bell tone, SpeakEasy Stage does a phenomenal job in depicting Kenneth’s endearing story of battling sudden changes in life that may seem mundane at first, but more than the eye can see.
One of Boston’s most reputable theater companies, SpeakEasy Stage brings “Primary Trust” to the South End under the direction of Dawn M. Simmons. The story follows the events leading up to, and decisions made after, Kenneth’s layoff from the bookstore he worked at for about two decades, after which he finds employment at a local bank. Many laughs and tears are shared with his not-so-real friend Bert (Arthur Gomez) and his boss(es) Sam and Clay (Luis Negrón), while a newfound friendship blossoms with Corrina (Janelle Grace), a waitress at the tiki bar he frequents every day after work to drink his beloved Mai Thais. Grace also plays every other waiter and waitress at the restaurant, to humorous effect.
Initially a meek individual, Kenneth grows in confidence as he develops his ability to connect with others, having learned valuable lessons from life’s unfortunate events. He begins and ends the play with the same phrase: “My name is Kenneth. I’m 38 years old and I live in Cranberry, New York, a suburb about 40 miles east of Rochester.” By the end, he can clearly speak with a newfound air of poise while still maintaining his awkward charm.
SpeakEasy, with a cast composed mainly of people of color, is outstanding as it weaves a story of emotional growth from trauma with a deep and complex portrayal of human emotions. A diverse cast — especially when handling the nuances of mental health while living in predominantly white neighborhoods — is an excellent way to encourage empathy by introducing viewers to multiracial perspectives and reducing existing stigma surrounding the mental health of people of color. SpeakEasy’s production of such an emotionally charged story has the effect of leaving audiences content while simultaneously provoking serious reflection.
The whimsical set, designed by scenic designer Shelley Barish and props coordinator Jason Ries, also leaves a memorable, comedic mark without depriving the play of its more nuanced topics of emotional trauma and making peace with one’s past. While Kenneth’s unfortunate childhood and the origin of his emotional insecurity — as well as his frequent outbursts towards others and himself — are serious aspects of the story, there are many moments of comedic relief that provide a subtle balance to make the play as enjoyable as possible. Simmons and production stage manager Kendyl Trott make efficient use of the entire stage space. Bert’s comedic timing and mannerisms, exceptionally executed by Gomez, make him a lovable addition to Kenneth’s unbalanced life. One remarkable moment during Kenneth’s interview at the bank is when the employer uses a comically large wad of notes as a stool while Bert takes a seat on pieces of the bank’s broken pillar next to Kenneth to help him deliver answers.
Another notable characteristic of “Primary Trust” is its use of bell tones in between scenes to signify the passing of time, aided by the entire cast’s masterful work in conveying rapid scene changes. While working at the tiki bar, Grace demonstrates her mastery of acting when she effortlessly flips through at least 10 different bar workers within the span of a minute, all with different personalities and likenesses. Throughout the entire production, the bell tones mark time passing. This adds a unique aspect to the viewing experience, speaking to SpeakEasy’s creative range.
“Primary Trust” breaks boundaries by interweaving a serious topic with a lovably comedic script, while SpeakEasy’s thoughtful staging quirks help deliver its heartwarming story of pain, growth, and most importantly, friendship. As Kenneth said, “I don’t believe in God or heaven or hell, but I do believe in friends.” By the show’s conclusion, one might be inclined to agree.
“Primary Trust” runs at the Calderwood Pavilion through Oct. 11.
—Staff writer Anmol K. Grewal can be reached at anmol.grewal@thecrimson.com.
