There’s a particular kind of silence that lives inside people who’ve survived more than they ever say out loud. Eboni Booth’s Pulitzer Prize-winning play “Primary Trust” leans into that quiet —as a way of honoring it. Through its thoughtfully calibrated presentation, The Repertory Theatre of St. Louis offers in that silence the type of insight that becomes a place of revelation.
At the center of it all is Kenneth, played with nuance by Gregory Fenner. Kenneth is a man who moves through the world gently, almost cautiously. It’s as if life has taught him that too much noise can be dangerous. Fenner doesn’t play him as fragile or broken – at least not when his character feels that people are watching. He plays him as specific. In doing so, he reinforces something at the heart of Booth’s intention – something that often gets flattened in American storytelling – the fact that Blackness is not a monolith. His Kenneth is tender, awkward, observant, and deeply human. He is a reminder that Black men carry interior worlds that don’t match the stereotypes projected onto them.
And then there’s Bert — Kenneth’s imaginary friend, played by Ronald L. Conner. His Bert is cool. He is also warm and charismatic. Conner gives Bert the swagger of a best friend, the patience of a therapist, and the loyalty of someone who has walked with Kenneth through unimaginable loss. He’s funny without being cartoonish, grounding without being overbearing. The audience understands immediately why Kenneth created him — and why letting him go is both terrifying and necessary.
The play follows Kenneth as he navigates a life that has been shaped by trauma, routine, and the coping mechanisms that kept him afloat. When a sudden shift forces him out of his comfort zone, he begins to confront the memories and fears he’s long kept tucked away. Booth’s writing is gentle but piercing, reminding us that people often carry entire histories behind their eyes — and that healing rarely looks dramatic from the outside.
Director Tyrone Phillips leans into that intention with pacing. He resists the urge to rush Kenneth’s emotional journey or punch up the humor for easy laughs. Instead, Phillips allows the story to breathe. He gives the audience space to sit with Kenneth’s silences, his hesitations – and the small victories that feel monumental for someone rebuilding a life from the inside out.
Supporting Kenneth’s world are Kierra Bunch and Alan Knoll. They move through multiple roles with dexterity and clarity. They shift from bartenders, bookshop owners and bankers to background figures in Kenneth’s life with such ease that their presence becomes a kind of emotional scaffolding. Their performances help illuminate how Kenneth sees the world — and how the world sees him. They also help highlight Bert’s role as friend, counselor, and coping mechanism, showing how Kenneth’s internal and external realities collide.
Scenic designer Sotirios Livaditis gives the production a visual language that mirrors Kenneth’s complicated inner life. The set is both literal and symbolic — a space that feels familiar, but upside down. It echoes the way Kenneth navigates his days. Livaditis and costume designer Shevare Perry work in tandem to give the intimate cast the variety needed to fill the mainstage without overwhelming it. Their choices help the audience understand Kenneth’s emotional landscape long before he speaks it out loud.
“Primary Trust” is not a loud play. It doesn’t shout its themes or force its revelations. Instead, it invites the audience into a quiet, deeply personal journey. It is a reminder that one never truly knows what someone is carrying – and that healing often begins in the smallest, most private moments.
‘Primary Trust’ runs through March 1 at The Repertory Theatre of St. Louis on the Browning Mainstage of The Loretto-Hilton, 130 Edgar Rd, Webster Groves, MO 63119. Tickets and performance details are available at repstl.org or by calling 314‑968‑4925.