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The word “bug” has many meanings. As a noun, it can refer to an insect or a communicable disease. As a verb, it can mean “to annoy” or “to plant a surreptitious listening device.” All of these options apply in Tracy Letts’ 1996 shocker, now on Broadway in a powerful production imported by Manhattan Theatre Club from Chicago’s Steppenwolf Theatre. I saw the play when it was off-Broadway 20 years ago and remember it for its shockingness and the amazing performance by Michael Shannon, whom I had not seen before. Its deep dive into the contagiousness of paranoia and conspiracy theories hasn’t lost its ability to discomfit an audience. It’s hard to imagine a better production than this one: the cast is uniformly excellent and the direction by David Cromer is superb. I must single out Carrie Coon who, as depressed 44-year-old waitress Agnes, once again demonstrates her enormous range and whose second-act monologue is breathtaking. As AWOL serviceman Peter, Namir Smallwood builds his meltdown slowly but skillfully. As Agnes’s lesbian friend R.C., Jennifer Engstrom creates a fully fleshed-out character economically. As Agnes’s ex Jerry, Steve Key is all too believable as an abusive spouse. Randall Arney is suitably ambiguous as Dr. Sweet. Takeshi Kata’s scenic design perfectly captures the seedy motel room where Agnes lives and undergoes a speedy transformation that I still haven’t figured out. Sarah Laux’s costumes amplify the personality of each character. The lighting by Heather Gilbert is excellent, as is the sound design by Josh Schmidt. Despite all these positives, I still can’t shake my reservations about the play itself – that it delivers shock for shock's sake and trades on gratuitous references to figures like Timothy McVeigh and Ted Kaczynski. I think that attempts to tie it to current events are a stretch. Nevertheless, if you want to see exceptional acting and aren’t grossed out at the prospect of an invasion of bugs, real or imagined, I recommend it to you. Note: Because of the extensive nudity, theatergoers must place their phones in a locked pouch, which is annoying for people like me who like to check their phone before the curtain and during intermission. If you are short and sitting in the front row of the Premium Circle, request a cushion because the high railing might block your view of the front of the stage. Running time: one hour 55 minutes including intermission.
