CRITIC’S PICK: "Booth’s one-man study is wonderfully vivid, but there’s only so much emotional engagement that the unburdening of feelings, rather than their enactment or discovery, can inspire."
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"The most gratifying element of 'Primary Trust' is its ending, which at first hints at the tidy closure of stories, as if the characters are dolls about to be put back in their boxes."
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" ...'Primary Trust' is not a play where a grand revelation is coming toward you. It’s more about the climb Kenneth faces as he’s slowly becoming reacquainted with the world, turning from an imaginary friendship to real ones."
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"Director Knud Adams (English) continues his run as a pitch-perfect distiller of dramatic essence, working with the dreamiest of dream casts. The restraint in Booth’s script, added to Harper’s immense gift for clarity and stillness and a director keeping the ensemble on the edge of comedy and despair—it works."
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" 'Primary Trust' is a call to the Kenneths of the world to speak up and take space — because no one is actually going to cede it to them otherwise."
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" 'Primary Trust' is little more than an anecdote that often hovers on the edge of sentimentality; as the play glides to an improbably happy ending."
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"Such optimism about the human condition is rare onstage nowadays, and I can't wait to see the next thing William Jackson Harper does. I just wish Booth had written Kenneth a little more consistently, and cut down on the ding-ding-dings."
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"A quiet gem that you’re likely to find yourself thinking about long after it’s concluded, 'Primary Trust' proves a deeply humanistic portrait of the sort of existential abyss into which we’re all capable of falling."
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