Carrie Coon is celebrating her short hair, which harks back to her childhood and young adulthood, contrasting sharply with the long brunette tresses of Bertha Russell, her character on HBO’s The Gilded Age. Coon describes her short hairstyle as embodying a sense of “boyish, Puckish freedom” and an anti-establishment spirit, urging everyone to bring a touch of rebellion into their lives during these times.
This vibrant attitude infuses her performance in the play Bug, which marks her return to Broadway after a four-year break—the longest of her career. Written by her husband, Pulitzer Prize winner Tracy Letts, the much-anticipated production will open on January 8 at the Samuel J. Friedman Theatre. This will be the Broadway debut of the nearly 30-year-old play, which was previously staged at Chicago’s Steppenwolf Theatre in 2020 and 2021. The original cast, directed by David Cromer, will reunite for this Broadway run.
Coon’s last Broadway appearance was in the 2012 revival of Edward Albee’s Who’s Afraid of Virginia Woolf?, where she and Letts first crossed paths. In Bug, she portrays Agnes White, a troubled waitress grappling with trauma and loss after her son was kidnapped. Engaging with Gulf War veteran Peter Evans, played by Namir Smallwood, Agnes gets drawn into his paranoid world, believing their motel room is infested with sinister forces. For Coon, the narrative transcends being merely a psychological thriller; it resonates deeply as a love story, showcasing characters desperate for agency in a hostile world.
Coon’s reflections on the evolving themes of Bug reveal her empathy for the characters. Her previous experience with the play was drastically altered by the pandemic, as audience reactions shifted amid growing conspiracy theories and social unrest. The play’s exploration of powerlessness has become more relevant, particularly in a contemporary context filled with technological fears. Coon notes a poignant line from the play, “We’ll never really be safe from the machines,” drawing parallels to the influence of AI and the way conspiracy theories have permeated society over recent years.
With Coon’s rising popularity due to acclaimed roles in The Leftovers, Fargo, and The White Lotus, she acknowledges the dual nature of her current status. While she is thankful for the opportunities that allow her to bring Bug to a Broadway stage, she mourns the reality that many talented actors remain unrecognized without mainstream exposure. “I’m grateful for it. I’ll take it,” she admits, showing a deep appreciation for her career journey.
Now a mother of two, Coon connects with the vulnerability of Agnes, a character whose fears of losing control parallel her own as a parent. This role has awakened a depth of sensitivity that Coon was previously unaware of, as she contemplates the harrowing possibilities of a parent’s worst nightmare.
Coon sees artistry as an act of resistance, especially in a cultural landscape that often undervalues the arts. Embracing this ethos, she integrates subversion into her art choices and personal style, reclaiming her identity on and off the stage in a manner that feels both empowering and defiant. “It feels good,” she says, smiling. “It feels punk rock.”