Scott Glenn's character is a distinct counterpoint to the Smith Family. His encounter with Dottie will long be remembered for its bone-chilling sensuality. The performances by Nelson and Shannon are so realistically and precisely rooted in the miasma of their trailer-trash existence that it's a bit shocking to contemplate their Playbill biographies revealing markedly different capabilities. Sarah Paulson has the most challenging chore, convincingly assaying the simple but not thoughtless contours of Dottie's character as well as enduring a humiliating vulnerability with a low-voltage current of uncommon intuition. The other design elements likewise never disappoint.
Costumes are totally in keeping with character and as nuanced as the sets.
This story of low aspirations is a surprising vehicle for its accomplishments. It sets a high-water mark that warrants attention. I recently reviewed, Wit. In a time when many so-called major playwrights are producing anemic works of little enduring interest, this phenomenon should serve as a source of optimism. Killer Joe is a case in point.