Review: "PRIMARY TRUST" at Circuit Playhouse Explores Humanity Amidst Tech Revolution

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Now Through May 31st

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In this ever‑evolving technological revolution, people seem increasingly desperate to stand out. We now have 24/7 intimate access to what anyone, anywhere in the world is doing, thinking, or feeling. And in an almost futile attempt to feel special, hyperbolic language has become the norm. Clickbait headlines are required to lure readers, and bombastic posts are crafted to attract followers. A politician doesn’t simply “win” a debate—he “destroys” his opponent. A woman doesn’t break up with her inconsiderate boyfriend—she escapes a “narcissistic sociopath.”

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Using extreme language to describe every event ultimately diminishes all events. Another term that has unfortunately become ubiquitous is “traumatic.” These days, everyone seems to be talking about their traumatic lives—trauma in the workplace, relationship trauma, childhood trauma. If everything is “traumatic,” then perhaps nothing truly is. So what’s a person to do? All that’s left is to normalize, suppress, or medicate it away.

Such is the fate of Kenneth in Eboni Booth ’s Pulitzer Prize–winning play PRIMARY TRUST, now showing at Circuit Playhouse through May 31st. Under the poignant and insightful direction of Tony Horne, PRIMARY TRUST follows a socially awkward but unfailingly kind man whose days are spent at a bookstore and whose evenings unfold in the corner of a restaurant, quietly nursing multiple mai tais. Narrating his story in small, careful increments, Kenneth reveals a life shaped by his love for his mother, his instinct to assume the best in others, and his singular friendship with Bert. He also carries the shadow of an unimaginable tragedy-one disclosed only briefly near the end of the play.

It’s a simple life, but one that echoes Henry David Thoreau’s observation about “the mass of men leading lives of quiet desperation,” because it rests on a foundation devoid of trust. At the most critical junctures of his childhood, Kenneth was betrayed by the very adults he needed most. And rather than becoming cynical or jaded, he leans into excessive kindness, paired with a quiet reliance on alcohol and imagination as his chosen forms of self‑medication. The writing is serene, the performances are unassuming, but the impact is profound.

In a performance that’s arguably the best of the season, Marc Gill delivers a gentle, people-pleasing man who has been traumatized into affable submission. Always one to give deference to everyone he meets, Gill’s character finds comfort in his own invisibility. He becomes the face of the average man who moves quietly through the world with a humble smile, carrying unspeakable pain. As his coping mechanisms begin to fall away, Gill’s quiet anguish seeps out in breathtaking ways. His acting choices are deliberate, nuanced and masterful. Go ahead and give this man his Ostrander award.

As Kenneth’s Best Friend , Bert, Trey Oliver is the epitome of what a Best Friend should look like-always there, always kind and always supportive. Although he has a family of his own, he still finds time to be there for Kenneth and cheer him on, no matter the situation. Like Gill, Oliver gets better with every show he’s in. He brings a naturalism to his characters that fosters immediate credibility. He’s that rare actor who never lets on he’s acting.

Navigating this world with a lot of baggage is no easy feat for anyone, but circumstances can occasionally cross paths with angels. Dave Landis portrays more than one angel in Kenneth’s life as his boss at the bookstore and later as his manager at the Primary Trust bank. With age comes wisdom and Landis delivers a heartwarming guide who regularly swoops in to remind Kenneth of his inherent value. Like the others, Landis’ performance is understated, yet powerful.

Finally, Keia Johnson does the “heavy lifting” portraying multiple characters-employees at Kenneth’s favorite restaurant, demanding customers at the bank and his potential love interest. Her commitment to every character includes distinct voices, mannerisms and energy. Instantly, she vacillates between high comedy and demure realism. Her command of the stage is much harder than it looks, but Johnson’s talent assures us that we’re safe in her capable hands.

It’s rare for a Pulitzer Prize winner like this to never make it to Broadway-it’s only happened a handful of times, but this little gem is certainly worthy of attention. Tony Horne has assembled a highly gifted cast of actors who know how to rely on the writing to reveal its greatness without a need to “push” or oversell the material. They let the words “speak” for themselves with their subdued acting and impeccable timing. Go see this production to be reminded that all of us are wandering this earth as survivors of something profound and deserve immense grace at every turn. Some of us “hide” it better than others, but the wounds are still there. An excellent production such as this can provide some solace, reassurance, and a measure of much-needed healing.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/memphis/article/Review-PRIMARY-TRUST-at-Circuit-Playhouse-20260513)._