Displaying items by tag: Malkia Stampley

Eboni Booth’s 2024 Pulitzer Prize-winning drama Primary Trust is a deeply introspective and bittersweet exploration of abandonment, routine, and the disorienting reality of sudden change. Directed with sensitivity by Malkia Stampley in her Goodman debut, the production skillfully tells the story of Kenneth, a quiet, unassuming man in his late 30s who has spent his entire life working at a single bookstore. When the shop closes, Kenneth is forced to confront not only the uncertainty of unemployment but also the emotional abandonment that surfaces as his stable, predictable world unravels. The closure of the bookstore, along with his long-standing isolation, pushes Kenneth to face a future where the comforting routines and relationships he once relied on are gone, underscoring the profound effects of abandonment in his life.

Namir Smallwood’s portrayal of Kenneth is truly extraordinary. He captures the character’s quiet vulnerability, depicting a man whose life revolves around the safety of a small, predictable world. Smallwood infuses Kenneth with a subtle yet profound emotional depth, inviting the audience to experience both his fear of change and his intense longing for connection. His interactions, especially with his imaginary friend Bert, reveal Kenneth’s deep-seated need for stability and companionship. Bravo!

Charles Andrew Gardner plays Bert, Kenneth’s imaginary friend and a manifestation of his internal struggles. Gardner’s portrayal is warm and engaging, bringing a sense of playfulness and hope to the otherwise heavy emotional landscape. The dynamic between Smallwood and Gardner is captivating, with Bert acting as both a comforting presence and a stark reminder of Kenneth’s profound isolation. Gardner brings a lightness to the role that underscores the bittersweet nature of Kenneth’s imaginary companionship.

Christiana Clark is impressive in her portrayal of 27 characters, most notably Corrina, a waitress at a bar where Kenneth frequently dines. Clark brings a vibrant energy to her roles, providing Kenneth with moments of real, tangible connection. Her Corrina is kind but grounded, gently pushing Kenneth to consider the world beyond his limited bubble. Clark’s range is showcased as she shifts between 27 (you read that) 27 different personas, offering a fresh perspective to each new character.

Fred Zimmerman also takes on multiple roles, including Kenneth’s boss, Clay, and various other characters. His versatility adds depth and dimension to the play’s supporting cast, each character uniquely distinct and contributing to Kenneth’s journey. Zimmerman’s performance helps fill out the world of Primary Trust with a sense of realism and gentle humor.

Mike Przygoda’s onstage musicianship brings a delicate, almost whimsical layer to the production. His understated presence as the tiki bar musician, playing late 90s top 40 hits, highlights key emotional moments in Kenneth’s journey. The music acts as an emotional echo, amplifying Kenneth’s solitude and brief glimpses of hope.

Lex Liang’s set design perfectly captures the small town of Cranberry, N.Y. where Kenneth lives. He brilliantly makes the town feel even smaller through his presence. Heather Gilbert’s lighting design enhances this with soft, natural tones and hints of color that create a sense of warmth while subtly highlighting a sense of hope.

Malkia Stampley’s direction allows the story to unfold at a measured pace, giving space for the quiet moments to resonate. She lets the production breathe as she skillfully balances the play’s themes of abandonment, loneliness and hope, guiding the audience through Kenneth’s gradual self-realization with care and empathy. The delicate interplay between reality and fantasy is handled with a light touch, allowing the audience to feel immersed in Kenneth’s internal world without losing sight of the story’s emotional core.

Primary Trust is a moving and tender exploration of a fragile man struggling to cope with the sudden upheaval of his carefully structured life. With an outstanding cast and an inspired creative team, the production offers a quiet yet profound reflection on human connection, personal growth, courage, and the essential need for primary trust. Yeah, it’s okay to not be okay.

HIGHLY RECOMMENDED

When: Through Nov. 3

Where: Goodman Theatre 170 N. Dearborn

Tickets: $25 - $40

Infor:www.goodmantheatre.org/show/primary-trust/

King Solomon once wrote there is nothing new under the sun, I will also add, there are no new stories to be told. The only difference is how the stories are told. Chicago playwright Joshua Allen with the second installment of his Grand Boulevard Trilogy is proving himself to be quite the storyteller, making what’s old new again.

The story starts calmy enough with a knock on the door in the early morning of October. Answering the door is Mrs. Elkins (the always excellent Shariba Rivers), a 51-year-old widower raising her 16-year-old granddaughter. She has a stoic countenance about her. This is a woman who has endured pain and lost. We learn she was 16 when she had her only child with her then boyfriend, whom she married. She endured a loveless marriage until his death at the age of 39. Mrs. Elkin’s daughter dropped off her daughter in 1946 for Mrs. Elkin to take care of while she went to Woolworth’s. She hasn’t been seen since. Mrs. Elkins works at a dental office as a receptionist. She owns the apartment building, renting out the upper floors to tenants while she and her granddaughter live in the basement apartment. Life has taught Mrs. Elkins to take care of herself. She is a hard smoking, no nonsense pragmatic woman.

On the other side of the door is Crutch (a youthful Brandon Sapp), Gloria’s little boyfriend. Crutch is as charming and affable as any young teenager of the times. He is smart and quick witted and comes from a “good” family. He is hopelessly devoted to Gloria, so much so, he sets in motion the storm of this play.

Gloria (the talented Jaeda LaVonne) is dealing with typical teenage angst. She is much more mature than her boyfriend Crutch. She knows how to use her feminine wiles. She has an active imagination and a quick tongue. The fact she resides in the same place as her strong-willed grandmother is enough to create a year-round storm.

Upstairs neighbor Lucille (a comic turn by Felisha D. McNeal) is the village needed to raise a child. She is the opposite of Mrs. Elkins. Although she is at least 10 years older than her landlady, she is spirited and jovial. She enjoys life to the fullest. Her years as a schoolteacher gives her an advantage with Gloria and Crutch. Lucille is the perfect advocate for the teens.

The last character is the Korean War vet Louis (the skillful Nathaniel Andrew) renting the second-floor apartment. Soft spoken and suffering from PTSD, Louis is easy to love, but he won’t be manipulated.

Under the astute direction of Malkia Stampley the play has a freshness and immediacy. The tension is thick throughout the story. The connections between the characters are real. We are never allowed to rest in our feelings before another plotline presents itself, even though we know where it leads.

The set by Sotirios Livaditisis is realistic and functional. The beautiful lighting design by Jared Gooding evokes time as well as mood changes. No one looks better in 60’s fashion than Shariba Rivers. Thanks to Alexia Rutherford’s costume designs we knew exactly the era and social standing of all these characters. The costumes popped. The original music by Christopher Kriz is beautiful, perfectly setting the tone. Allen has written a beautiful slow burn of a play. While there are few surprises, the acting and complete production design lifts the story off the page creating an enjoyable theatrical event. Luckily, the more things change, the more they stay the same. RECOMMENDED

When: Through June 25

Where: Raven Theatre 6157N. Clark St. Running time: 1 hour 45 minutes with one intermission

Tickets: $40 (students, active military, and veterans $15)

Contact: raventheatre.com