My Own Take: 'Bug' Arrives on Broadway Starring 'Gilded Age''s Carrie Coon
The show: “Bug” by Tracy Letts on Broadway
What makes it special?: The show stars Carrie Coon (TV’s “The Gilded Age,” third season of “The White Lotus”) in a play by Pulitzer Prize-winning playwright (and Coon’s husband) Leets. The production is staged by David Cromer, one of the best directors of his generation. It was first staged off-Broadway in 2003, following its production in London in the mid -‘90s.
What’s it about?: Creepy crawlers — of the human kind — in this psychologically intense workout of a play: for both actors and audience. It begins with a long tableau of Agnes (Coon) laconically looking out of the window of her generic-looking motel room outside Oklahoma City in the ‘90s. Nothing much transpires for quite a while as she smokes her cigs and paces about, giving the audience a chance to settle into the sounds, the bleakness, and the little details of the room — and the character’s anxiety. Pay attention to these small things, director Cromer seems to be saying, as Letts’ narrative evolves in small, mundane ways — at first.
This sad setting (designed with the right amount of despair by Takeshi Katais) is the home of Agnes, waitress and divorcee whose ex Jerry (Steve Key) has just been released from prison. She fears his violent return but before that happens her lesbian biker friend R.C. (a fierce Jennifer Engstrom) brings Peter (Namir Smallwood), a Gulf War vet she met at a bar to party on in Agnes’ room. This soft-spoken, mysterious stranger has a reserve and gentle nature which intrigues her and seems to be a balm for Agnes’ jagged state of mind. Upon learning that he doesn’t have a place to stay, she allows him to crash on the floor — and then later her into her bed.
But sex is not the principle propellent here. Paranoia is, fueled by vodka and cocaine lines. It begins in small ways when he discovers a bug — of the insect variety — in her room. Then another. Then another, though she can’t see them. Then does, kind of. But not. Then does. Big time.
An army veteran with apparent PTS, we see increasingly disturbing glimpses — but only glimpses — into Peter’s character as he shares some unsettling theories. Agnes at first finds these ideas incredulous, then no-so, as she increasingly finds his extreme perceptions giving her comfort to her own past and ongoing pain. Letts shows how the most vulnerable living on the edge can easily be infested with conspiratorial fantasies with just the right push.
This early work by Letts echoes the trailer trash world and the shocks — sexual and violent — of his play “Killer Joe.” Both were was written well before his more mature, acclaimed “August: Osage Country” and other works such as “The Minutes” and “Superior Donuts.”
But it’s a long slog with not much character development before the play’s final powerful pay-off. It’s preceded by a searing monologue by Coon that is gasp-worthy.. An extraordinary actress of a wide range of roles, this character is as far from “The Gilded Age'“‘s Bertha as you can get, revealing a character so raw, ravaged and stripped down — literally. (Cell phones in locked pouches, please.)
The acting is solid throughout, including the late arrival of an unexpected visitor (Randall Arney). Josh Schmidt’s sound design and Heather Gilbert’s lighting all contribute to the despair, suspense and terror . But the two-hour run time is exhausting and its point — and writ-large metaphor — is made well before the show’s climax.
Who will like it?: Letts and Coon fans. Those looking for edgy, dark, characters and narratives.
Who won’t?: Paranoids and entomophobiacs.
For the kids?: No, though older teens might be attracted to the dark side of the story.
Looking into the future?: Tony acting and directing nominations potential, especially for Coons.
Thoughts on leaving the parking lot?: Boldly metaphoric works can have awesome power but here — despite fine performances and direction — “Bug” lacks dimensionality in this dark and dreary world.
Info: “Bug” is playing at the Samuel J. Friedman Theatre, located at 261 West 47th St,. (between Broadway and Eighth Avenue) in Manhattan’s Theater District. Previews began in December and opened on Jan 8. It is slated to run through February. 22. Runnin g time is 2 hours and its has one intermission. Ticket prices vary widely depending on seat and date, typically starting around ~$100–$110 on official sellers and going higher for premium dates or seats (many listings show prices over $200+). Content is mature, recommended for older teens and adults. The show has a phone-free policy, using locked pouches until audience exits.