In several interviews, Carrie Coon said “Bug” was the hardest play she had ever done, and believe me, I understand why only too well.
Pulitzer Prize- and Tony Award-winning playwright Tracy Letts’ “Bug” is Steppenwolf’s current production, and it’s an immensely intense, heavy emotional work. You’ll be just as drained as the ensemble when the end is reached in this highly anticipated remount.
Letts’ tightly written drama made its Chicago debut in 1996 at Red Orchid Theater, but it has returned to the Steppenwolf Theatre stage under the direction of Tony Award winner (“The Band’s Visit”) David Cromer. Steppenwolf ensemble members Coon and Namir Smallwood are the leads; they are strongly supported by Randall Arney, Jennifer Engstrom and Steve Key.
Letts claims “Bug” is a love story. In a perverse way, perhaps it is; he said “Bug” explores the psychological term “folie a feud,” which means “the madness of two.”
“It’s when one person literally catches another person’s psychosis, which also seemed to me a kind of love,” he said.
Letts wrote it when he was in his 20s; to me, “Bug” is more a transitional psychological thriller dealing with almost incomprehensible loss, paranoia and insanity.
Coon portrays Agnes, an Oklahoma waitress hiding out from her ex-husband (Key) in a seedy hotel room. He’s abusive and an ex-con, and their son mysteriously disappeared from a grocery cart several years ago.
Agnes’ best friend, R.C. (Engstrom), visits with the intention of getting Agnes out to a party, and she is accompanied by Gulf War veteran Peter (Smallwood). And here comes the origin of the title: Peter may or may not be AWOL, and he may or may not have been involved in some Army medical experiments involving bugs.
An unexpected relationship develops between Agnes and Peter; she slowly falls under his influence, as well as into his conspiracy theories and paranoia.
We’re also set up for a conclusion that is horrific, lurid and highly predictable. It’s a pretty raw drama with surprising comedic elements and topical relevance, but that’s part of Letts’ distinctive style.
There’s always some humor before he sucker-punches you in the stomach.
You’ll witness a master class in acting and an ingenious set design by Takeshi Kata that garners its own applause in the final scene in Act Two. But the magnificence in acting is not only limited to Coon and Smallwood; the entire cast is flawless in their capabilities and ability to persuade and shock in their characters’ delivery.
Coon is tremendous to behold, uncomfortable to watch and entirely believable as she descends into insanity. Her waitress, Agnes, is a lonely, vulnerable, boozy, weed-smoking coke head. Her chemistry with Namir Smallwood’s Peter is both electrifying and terrifying.
Smallwood is attractive, intelligent, scarred and exhausting as his Peter goes from a soft-spoken drifter to a roaring maniac.
Jennifer Engstrom is R.C., the lesbian biker best friend and catalyst. She’s one tough voice of reason counter-balanced by Steve Key as Jerry, the abusive ex-husband who is expecting to resume a relationship with Agnes. He’s shocking but has a redeeming quality that surfaces too late in the game.
Tall and imposing Randall Arney’s Dr. Sweet has a brief but effective appearance and provides a dashed glimmer of hope.
“Bug” certainly adheres to Steppenwolf’s mission to create courageous and provocative art. Be cautioned that there is nudity, drug use, violence and profanity.
I guarantee “Bug” will get under your skin, and you’ll have a major car-versation on the way home about the disconnect between reality and delusion. Letts preys upon our lying awake at night; “Bug” taps into those fears with enormous wiggling power.
• Regina Belt-Daniels acts, directs, travels, serves on theater boards throughout northern Illinois and loves to write theater reviews.
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February 09, 2020 at 09:33PM
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Review: 'Bug' at Steppenwolf sure to get under viewers' skin - Northwest Herald
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