The atmosphere of the Samuel J. Friedman Theatre transforms into a gritty motel, filled with the lingering scent of stale cigarette smoke, for the production of Tracy Letts’ play “Bug.” The set, which is the sole backdrop of the play, features a unique design that presents the motel room in a corner of the stage, creating a depth that simultaneously distorts its geography, enhancing the unsettling world inhabited by Agnes, played by Carrie Coon, and Peter, portrayed by Namir Smallwood.
Agnes, a struggling waitress, finds herself in a tumultuous cycle of substance abuse, coping with her abusive ex, Jerry, who has recently been released from prison. When her friend RC introduces her to Peter, a drifter who claims to be a veteran, he appears gentler than the dangers of her past. However, the semblance of safety quickly deteriorates when Peter’s paranoia sets in after he believes he’s discovered a bug bite in their shared space, dragging Agnes down into a shared spiral of delusion.
Originally introduced in London in 1996, “Bug” was later revised for American audiences in the early 2000s, gaining further recognition through its film adaptation in 2006. The current stage production, set in the present day, raises interesting questions about how these themes resonate today, particularly as they reflect a society increasingly mired in conspiracy theories and paranoia. The play, originally reflecting concerns of the 90s, resonates even more deeply today, as fears of invisible threats have grown, especially in today’s climate of social unrest and misinformation.
Although the production fails to fully modernize its themes, its essence remains poignant. The connection between Agnes and Peter, while potentially thin on character depth, remains powerful as they navigate their isolation together—occasionally vulnerable and exposed. Coon’s portrayal showcases her ability to embody fragility and strength, while Smallwood brings a soft intensity to Peter’s character, escalating his paranoia in a heartbreaking manner.
First-time viewers may find “Bug” thoroughly engaging, while those familiar with previous iterations or the film might ponder the depth of Agnes and Peter as characters. Despite Letts having moved on to create modern masterpieces like “August: Osage County,” “Bug” still resonates with audiences. It stands as a reminder of how timeless and unsettling the exploration of psychological isolation and vulnerability can be, offering insights into both past and present societal fears. Ultimately, this production of “Bug” serves as a compelling piece of theater, capturing the raw intensity of human connection amidst chaos and delusion.