In a recent conversation about the psychological thriller play “Bug,” Justin Theroux conducted an in-depth interview that highlights the intense atmosphere and themes of panic and paranoia running through the production. This Justin Theroux interview Bug play delves into how Carrie Coon, fresh off a powerful performance, navigates a story filled with paranoia, conspiracy, and the human search for meaning, with both reflecting on their past collaborations and the evolving resonance of the play in today’s society.
Exploring Familiar Territory: Panic and Paranoia on Stage
Justin Theroux, known for his roles in projects like “The Leftovers,” draws connections between his and Carrie Coon’s body of work as they reunite to discuss “Bug,” currently being performed at the Samuel J. Friedman Theatre in New York. The play, authored nearly three decades ago by Pulitzer Prize-winner Tracy Letts, follows two characters in a down-and-out motel room whose descent into drug-fueled delusions and suspicion mirrors contemporary issues, making the story feel remarkably timely.
Coon describes how this production represents the most physically demanding and mentally intense performance environment she’s been part of, which Theroux noticed during their post-show call. The original design of the play was for an intimate setting—a small black box theater where audiences are close to the action—yet the new venue’s larger stage injects a sense of claustrophobia that serves the story well. The collaborative efforts of the cast, especially the expertise brought by fight and intimacy coordinator Marcus Watson, add layers of authenticity to the volatile dynamics between the characters.
Coon recounted receiving Letts’ scripts early in their relationship, with the invitation to join the Steppenwolf ensemble coming soon after. Initially unfamiliar with the play compared to its film adaptation, she quickly grew into the role and embraced the challenges, including the age and life experience differences with the character Agnes. She traced the development of the play to as recently as 2019 or 2020, when the subject of aging and maturity in performance became particularly relevant. Physically grueling scenes left the actors battered, underscoring the raw realism of “Bug.”
The performers discussed the challenges in portraying physically demanding and emotionally extreme scenes, where a single well-timed punch (choreographed by Marcus Watson) and layers of implied violence required thoughtful coordination. Watson’s dual expertise in fight and intimacy direction was highlighted as a thoughtful approach to bring sensitive realism, recognizing that violence in narratives often carries a level of intimacy between participants.
Theroux and Coon explored the fidelity of the text to its original form. The script remains untouched, capturing the cultural anxieties of the era when written, with threads that still seem eerily predictive today. For example, technological paranoia and conspiracy theories explored in the play were inspired by investigatory dives into the internet’s earliest communities, amid a society still reeling from the Oklahoma City bombing and references to figures like Timothy McVeigh. Their conversation examined how the material’s continued relevance is notable in a world awash with misinformation and suspicion.
From Past Collaborations to New Realities
The discussion naturally turned to their shared experiences on “The Leftovers,” the critically acclaimed HBO series by Damon Lindelof, which also placed its actors in stories about the edge of societal collapse. Carrie Coon, also recognized for her role as Bertha Russell on “The Gilded Age,” reflected on how her choices and opportunities cross media and genres, following where meaningful work arises rather than pursuing intentionally dark or conspiratorial themes. They talked about their time on the TV show compared to the theater, noting key differences in work-life balance and the emotional toll of nightly live performances.
Coon offered insights into the ongoing negotiations required for actors balancing high-conflict performances and family responsibilities. She revealed that the support of her partner, Letts, and a robust network of helpers was essential for managing the demanding theater schedule. The play’s physicality often resulted in bruises and exhaustion, yet the community surrounding the production provided relief and stability, something Theroux confessed he was interested in understanding as he anticipates his own family changes.
The creative process behind “Bug,” as described by Coon, is marked by Letts’ openness to collaboration and a willingness to accept feedback, which she contrasts with the more isolating and sometimes ego-driven world of other writing forms. Letts’ ability to involve dramaturges and assistants ensures the play stays dynamic and responsive, even after decades since its initial staging. She remarked on the difference between old and current work, emphasizing the intentional lack of script updates despite some lines now sounding as if lifted straight from modern conspiracy narratives, as Theroux noted:
“That big, beautiful monologue that’s given in the second act, it reads like it’s from QAnon.”
– Justin Theroux, Actor
Psychological Depths: Art Reflecting Society
The interview further probed the play’s underlying themes, questioning how much of the action is reality versus the product of drug-addled paranoia. Theroux’s curiosity about whether certain characters and events were intended as hallucinations led to Coon’s confirmation that much of the ambiguity is deliberate. Letts wanted audiences to walk away debating the true state of the main characters’ minds, a narrative technique that makes the production especially open to interpretation and discussion.
They connected the story’s exploration of paranoia and loneliness to current societal trends, discussing how the American psyche’s search for answers—or someone to blame—often leads to fertile ground for conspiracy theories. Coon discussed Letts’ evolution as a playwright and his knack for planting narrative seeds that blossom as the story unfolds, inviting audiences to look for meaning within the confusion.
“The play is about how we make meaning and how we answer the question, ‘Who did this to me?’”
– Carrie Coon, Actor
Addressing the role of comfort and connection, Coon noted that “Bug” presents its flawed characters as reaching for purpose amid their isolation. The sense of empowerment that Agnes, her character, feels is unsettling yet truthful—a window into what drives people toward even harmful convictions when the alternative is meaninglessness. The cast acknowledged the tension between the terrifying loss of control and the consolation of forging one’s own answers in a world that often resists simple solutions.
Balancing Family, Fame, and a Demanding Career
The realities of balancing a stage career with family obligations emerged as a core topic, especially for Coon, who detailed the meticulous coordination involved in managing daily life after late-night performances. From arranging school visits and lunches to handling unexpected household breakdowns, she illustrated how the demands of theater differ markedly from television and film, where more predictable schedules offer weekends free. The financial ability to assemble a support team is a privilege not lost on her, shaping the choices she can make as a working actor and parent in Westchester and across New York and Connecticut.
Theroux reflected on the emotional cycles experienced after performing live, noting the physical and psychological adrenaline that makes restful nights elusive. The schedule of Broadway productions can be particularly grueling, a factor that, combined with his expectations of fatherhood, makes returning to the stage a challenge, at least in the near future. Both acknowledged the constant trade-offs involved and the support structures that are critical for sustaining a family amid creative pursuits.
Candid Reflections on Learning, Failure, and Growth
The conversation adopted a more introspective tone as Theroux channeled the style of famed interviewer Barbara Walters, asking Coon to discuss setbacks and what insights they offered. Coon emphasized that growth often stems from missteps and learning to articulate personal and professional boundaries—a concept vital not only in the performing arts but in any collaborative, creative environment. She admitted to early feelings of insecurity when working alongside more experienced colleagues on “The Leftovers,” recalling,
“I was faking it so hard. But I really didn’t know anything and I was scared and insecure.”
– Carrie Coon, Actor
However, the bond among the cast members—and the extraordinary scripts by authors like Damon Lindelof and Tom Perrotta—created a space in which even intense emotional work could become cathartic and fulfilling. The duo reminisced about fans flocking to “Bug” out of their ongoing attachment to “The Leftovers,” with Theroux humorously recounting signing memorabilia outside the theater. Both agreed such rare synergies are what make standout projects genuinely meaningful within their careers, even if they only become fully appreciated in hindsight.
The Changing Nature of Public Perception and the Role of Humor
The exchange also broadened to how actors are perceived—particularly women facing pointed and sometimes invasive questions in interviews. Referencing Barbara Walters’ infamous inquiries to celebrities like Vladimir Putin, Muammar Gaddafi, and Barbara Streisand, the conversation underscored the persistence of judgmental lines of questioning, especially regarding appearance. Coon noted,
“It’s interesting that those questions often come up in interviews with women. Things like, ‘Why didn’t you get your nose fixed?’ Things that your mother would ask you.”
– Carrie Coon, Actor
Theroux and Coon observed that even with cultural progress, surface-level scrutiny and trivial interview topics continue to play a noticeable role in shaping public image. They drew attention to the transformations actors undergo for roles, with humor as a recurring survival mechanism during and after tense or demanding work. Coon credited humor—both onstage and off—as a lifeline, reinforcing her belief that if art lacks humor, it cannot communicate truth. She referenced the shift in “The Leftovers” from its somber beginnings to a richer, more complex tone filled with unexpected levity, which mirrored growth in both the narrative and its creators.
Discussing character work, Theroux and Coon expressed affection for the tools of the trade: wigs, costumes, mannerisms, and the delight in constructing personalities from the outside in. This light-hearted side of preparation, despite the otherwise heavy subject matter, exemplifies how actors manage the psychological weight of their roles while maintaining perspective on their own lives and identities.
Humor and catharsis often coexist, as highlighted in memorable moments from “The Leftovers” and “Bug,” reinforcing the notion that laughter and pain are fundamental, recurring themes in both art and life.
“If an audience is laughing, then they’re listening.”
– Tracy Letts, Playwright (as quoted by Carrie Coon, Actor)
The process of leaving a character behind at the end of a taxing performance, Coon notes, is essential for her resilience and mental health. She shared a story about Tom Perrotta observing her quick emotional recovery after a difficult scene:
“All right, Tom, I’ll see you tomorrow.”
and
“You drop it just like that?”
– Tom Perrotta, Author, and Carrie Coon, Actor. This ability, she believes, helps actors maintain stability despite the challenges inherent to their craft.
The Broader Impact: Art, Society, and Future Directions
Theroux and Coon’s dialogue illuminates how plays like “Bug” resonate with current societal anxieties about truth, connection, and the search for meaning amid chaos and technological upheaval. Both pointed out links between personal hardship, collective paranoia, and the broader American experience. Coon referenced Letts’ shift toward more nuanced social commentary in subsequent plays like “August: Osage County,” while continuing to see “Bug” as an exploration of people on the margins struggling to make sense of circumstances beyond their control.
The interview closed with a blend of humor and seriousness, bridging their professional lives, the demands of family, and the evolving challenges of performing in today’s world. Both acknowledged the good fortune involved in working on standout productions and the ongoing necessity of learning and adapting in a career marked by unpredictability and public scrutiny.
As “Bug” continues its run at the Samuel J. Friedman Theatre through February 22, the production stands as a testament to the enduring power of live performance to address contemporary fears and desires. Through Theroux’s probing questions and Coon’s candid responses, the conversation captured the complexities of art imitating life, and vice versa, for audiences and performers alike. As both continue to chart new paths on stage and screen, their insights reveal the essential interplay of creativity, vulnerability, humor, and support that defines meaningful artistic work.
