Tracy Letts
In English with French surtitles

[EN] Blackly comic, ferociously violent and blatantly sexual, Letts’ tabloid tale is a slam-bang, obscenity- laced, full-frontal, unapologetically, trailer- trash in-your-face assault with foul-mouthed, dysfunctional characters.

Killer Joe tells the story of Chris Smith, a 22-year-old drug dealer who finds himself in serious debt to the wrong people. He decides to murder his mother, Adele, to collect the $50,000 of insurance money. He has been told by his mother’s boyfriend Rex that the sole beneficiary will be his younger sister Dottie. Assuming Dottie will share the money with him, their father (and also their stepmother), Chris manages to rope his father into a conspiracy to kill his mother in order to get the money. They hire Killer Joe, a police detective – and contract killer in his free time – to get the job done. The plan almost fails when Chris is unable to front Joe’s fee. But Killer Joe takes Chris’s childsister as a retainer against his final payoff which sets in motion a bloody aftermath as the “hit man” meets his match. It all climaxes with Double Indemnity- like twists and turns that go against all expectations.

Letts himself states having been influenced very clearly at the time, mainly by things like Blood Simple, the 1984 noir-style crime film that marked Joel Coen’s directorial debut, and the hardcore pulp fiction of Jim Thompson. On top of that, one could claim that Killer Joe has profound – yet somewhat twisted – echoes of the Cinderella story, in which a young girl dreams of being rescued from her evil stepmother by a Prince Charming. Those three elements: the Noir, the Pulp and the Fairy-tale are all but alien forms to Anne Simon.

The director, who is already familiar with Tracy Letts, directing his Bug in 2009, will be combining those three aesthetic forms in her distopic vision of a desolate, fast-food-addicted and TV-driven society in Killer Joe.

» Anne Simon succeeds in perfectly capturing the tone of the play: this odd cocktail of comedy and cruelty, of graphic violence and black humour. D’Lëtzebuerger Land

» Milton Welsh’s Ansel is dim and angry, bellowing in impotence. Alessija Lause sharply defines Sharla’s crude sexuality and rampant betrayal. Daron Yates nicely captures Chris’ stunted dreams and weak protectionism of his sister [...]. [...]As Dottie, Elisabet Johannesdottir gives her finest Luxembourg performance to date, side-stepping the obvious choice of playing the ethereal wannabe princess-in-waiting. [...]Isaac Bush brings an unnerving calmness to Joe. Wort.lu

» On stage, Simon and the company have instead created riveting theatre. Wort.lu

» Set in Dallas, Killer Joe revels in its white trash stereotypes, and gives you permission to do the same; it’s pulp fiction which has it both ways, deriving humor from dirty realism. It’s slick, it’s well constructed, it knows exactly where it’s going. New York Daily News

[FR] Killer Joe est une histoire férocement violente et ouvertement sexuelle, un condensé d’humour noir, une sorte de conte trash explosif.

Killer Joe raconte l’histoire de Chris Smith, un trafiquant de drogue de 22 ans qui se retrouve superendetté vis-à-vis de dangereux individus. Il décide d’assassiner sa mère afin d’empocher les 50 000 dollars de son assurance-vie. Il embauche alors, pour faire «le travail», Killer Joe, un policier – tueur dans ses temps libres. Tout n’ira pas comme sur des roulettes...

Tracy Letts reconnaît avoir été influencé par toute une série d’oœuvres «noires», des frères Coen, de Jim Thompson, notamment. On décélerait même dans Killer Joe des échos de Cendrillon… Voilà qui ne pouvait manquer de séduire Anne Simon dont on connaît la prédilection pour pareils univers, et qui a déjà mis en scène Bug du même Tracy Letts en 2009.

» Anne Simon dirige à un rhytme enlevé les comédiens qui, moyennant un jeu engagé et pertinent, dévoilant peu à peu le vrai visage des personnages. […] Killer Joe un spectacle cru, bien conçu et joué avec entrain. Le Jeudi

[DE] » Dass uns die explizite Sexualität und Brutalität in dieser Inszenierung nicht kalt lässt, ist vor allen Dingen den beiden Darstellerinnen zu verdanken. Elisabeth Johannesdottir spielt eine zarte Dottie, die trotz ihres schlichten Gemüts und ihrer Zerbrechlichkeit die Männer um den Finger wickelt. […] [In der Rolle der Sharla] besticht Alessija Lause durch ihr direktes und ungehemmtes Spiel. Luxemburger Wort


Isaac Bush,
Elisabet Johannesdottir,
Alessija Lause,
Milton Welsh,
Daron Yates

Director Anne Simon
Assistant director Daliah Kentges
Costumes Michelle Bevilacqua
Set design Romain Stammet

Maquillage Julie Asselborn

Production Les Théâtres de la Ville de Luxembourg

Creation in January 2015 at the Théâtre des Capucins

Permission granted by Abrams Artists Agency, 275 Seventh Ave./ 26th Floor, New York, NY 10001, USA. All inquires concerning rights to the play shall be addressed to the above.


Samedi 10 JANVIER 2015 à 20h00 (tickets)
Mercredi 14 JANVIER 2015 à 20h00 (tickets)
Jeudi 15 JANVIER 2015 à 20h00 (tickets)

DURÉE environ 1h40 (pas d'entracte)

Adultes 20€, 15€, 8€ / Jeunes 8€

Lieu: Théâtre des Capucins

Introduction to the play by Janine Goedert at 7.30pm before every performance (in English)

[TICKETS]2015-01-10 20:00:00 17764+2015-01-14 20:00:00 17765+2015-01-15 20:00:00 17767