Awarded the Pulitzer Prize for Drama in 2024, Primary Trust is the latest acclaimed play to hit the Sydney theatre scene, being produced by Ensemble Theatre as one of the more contemporary works in their 2025 season. The play, written by Eboni Booth, features only four performers and follows the protagonist Kenneth, as he meets with his friend Bert at the bar every day, discussing the day’s events from his job at a bookstore before he heads home. 

The only problem is that Bert isn’t real, rather he is a figment of Kenneth’s imagination. As Kenneth loses his job, he finds a new job in a bank and things are going well, as he has Bert beside him to confront these new challenges. However, eventually Bert slips away from him, and he is left to live his life by himself. He finds some form of company in a waiter from the bar he frequents but this presents a new set of challenges for him. 

The play is surprisingly poignant in its depiction of the subject matter on stage, subverting audience expectations at many points. While the revelation that Bert is imaginary presents one set of emotions initially, the trauma that underpins Kenneth’s image of Bert gives the play a whole new dimension. While there are many humorous moments in the play, the dominant emotion is one of sadness. Yet, there is power and force in Kenneth’s strength as he goes out on his own at the end of the production, which endears the audience to him and adds a degree of affirmation to the storyline. It is also refreshing that the story doesn’t conform to a traditional romantic storyline, which could certainly cheapen it, rather it attempts a much more nuanced analysis which complements the other themes in the production nicely.

The character acting is very strong in this production, with all four performers having moments of brilliance. Albert Mwangi is superb as Kenneth, conveying the vast range of complex emotions that the character must confront and really engaging with the audience in the process, engendering a great deal of sympathy. He is ably supported by Charles Allen as Bert, who feeds off Kenneth well and serves as a clever foil. Angela Mahlatjie and Peter Kowitz are particularly strong as a range of supporting characters, providing both entertainment and conviction in their performances.  

While the character acting is particularly strong, there are parts of the play that feel slightly underdone and underprepared. A number of characters drop lines on opening night with a slightly disconcerting frequency and at one point, one performer has to be prompted from the audience. This doesn’t detract too much from the play given how strong the acting is on the whole, but is definitely noticed by the audience. 

James Browne’s set is charming, with simple projections onto the back wall to delineate between the bar and the bank. Verity Hampson’s lighting and Max Lambert and Roger Lock’s sound design combine well to highlight Kenneth’s increasingly fragile mental state. This is a well-considered and put-together production, with Director Darren Yap ensuring all bases are covered.

Overall, this is a very strong production, with a much deeper meaning than what first seems apparent on the surface. The acting is very strong, and although there are a few slips, the emotion really shines through. This is one of the best Ensemble productions of the year and well worth seeing for those wanting a modern and incisive watch. 

Rating: ★★★★1/2

Primary Trust plays at the Ensemble Theatre until 12^th July. For more information, click here. 

All photo credits: Prudence Upton