(Chris Jones’s review appeared in the Chicago Tribune, 2/4.)
Like a sleeping Midwestern beast loosed from its cage of self-imposed timidity and graduate-school moralism, the old-school Steppenwolf Theatre came roaring back to life Monday night with the opening of “Bug,” Tracy Letts’ seminal, skin-crawling 1996 work about, depending on how you read the play, debilitating, delusional paranoia or the government’s ongoing tendency to experiment on its own citizens.
Once again, Chicago’s most famous theater has turned to Letts, its resident playwright with two shows this season on Broadway, including a transfer of “The Minutes,” which happens to be the last show at this theater to shock its audience like this one. But this time, Steppenwolf paired Letts (building on their New York collaboration with “The Man From Nebraska”) with the director David Cromer, a theatrical genius who emerged from the very same Off-Loop milieu as Letts and is always at his best when making like an emergency locksmith with revivals of profoundly observational plays ready to burst wide open. For those of us who are longtime students of Cromer’s work, “Bug” is a thrilling addition to the Cromer Chicago canon: this is his most spectacular piece of direction in this city since his seminal “Our Town,” one of the greatest Chicago productions of all time.
Photo: Carrie Coon and Namir Smallwood star in the Tracy Letts play “Bug” at Steppenwolf Theatre. (Michael Brosilow photo)