‘Primary Trust’ by Eboni Booth. Directed by Chari Arespachochaga. Presented by Asolo Repertory Theatre, 5555 N. Tamiami Trail, Sarasota. Through Feb. 11. Reviewed Jan. 9. 941-351-8000; asolorep.org

Eboni Booth’s Pulitzer Prize-winning play “Primary Trust” triggers a lot of different emotional responses in the engaging production that opens Asolo Repertory Theatre’s winter rep season. It’s a deceptively modest play that could have a big impact with some audiences.

“Primary Trust” is about a lonely 38-year-old man named Kenneth who has an interesting and sometimes sad story to tell about his life in a suburb of Rochester, N.Y. He works in a bookstore and spends his nights drinking mai tais with his only friend, who turns out to be imaginary (that’s not much of a spoiler) at a tiki bar named Wally’s. Kenneth is not your typical protagonist. His story is funny, involving, and shocking, and there are times when you might feel a little misty-eyed as you begin to hear more of his story, which can also prompt a sense of amazement.

Over the course of the play’s 90 minutes, we realize that Kenneth survived some childhood trauma and built a shell around himself and somehow survived all these years pretty much with only the help of his imaginary friend, Bert (Kamal Bolden). He is socially awkward only because he hasn’t interacted much with others for years, aside from his bookstore boss, Sam (Matt DeCaro) and the waiters who keep the mai tais coming and see him only as the guy who talks to himself in the dark corner.

Things begin to change when one a newish waitress, Corinna (Kayland Jordan), takes some interest in. She encourages him to chat and apply for a new job at a bank, subtly setting him on a path toward a more connected future. We realize how much simple niceties and human kindness can mean for an individual.

Corinna pulls him out of his shell and Jordan makes her a delightful companion. The boisterous Bolden makes you understand why Kenneth wants to hold on to his friend, Bert. It’s great to see DeCaro returning after a few seasons playing multiple roles that allow him to change attitude, posture and demeanor each time he reappears on stage.

There are moments when I wasn’t sure what to make of Kenneth, no matter how pleasant Cason makes him. And there were others that made me think of Jerzy Kosinski’s novel “Being There,” about the simple gardener Chance, who relates to everyone through his garden view and is somehow perceived to be brilliant beyond his mental capability. There is more to Kenneth than we first see. He just hasn’t had the chance to develop his personality and ability.

The changes in Kenneth happen naturally in Cason’s performance and under the direction of Chari Arespachochaga. Her production alternates between quiet and tender moments and the frenzy of activity in the bar and at the bank where Kenneth must deal with a variety of increasingly demanding customers, all played by FSU/Asolo Conservatory students Luke Choi, Angelle Mishon and Will Westray. The set by Joey Mendoza is backed by miniature frames of buildings in the town, and other bigger set pieces that appear as needed.

And the cast is supported by composer and musician Peter Vitale who provides an ethereal, tinkly, sometimes dark musical background from a perch in one of the boxes.