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November 2, 2011

“Goodbye, cruel world!” It’s succinct and to the point, certainly. But not exactly fresh, and perhaps a little too self-conscious in the humor department? If you’re looking for something more earnest and inspired, the friendly fellows at "Suicide, Incorporated" can help you out.

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Peter
Santilli

November 2, 2011

Saying goodbye forever requires a special kind of deliberation. In Andrew Hinderaker’s strange but gripping drama "Suicide, Incorporated," a struggling writer finds employment at a firm that capitalizes on the most desperate of clientele, helping people find the right last words before there is nothing more to say.

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November 3, 2011

There must be something in the HVAC system this fall at the Roundabout’s Off Broadway digs. Two weeks ago came the preem of Stephen Karam’s stellar "Sons of the Prophet," and now there’s Andrew Hinderaker’s "Suicide, Incorporated" in the venue’s smaller sub-basement space. Play isn’t quite up to the level of the Karam play, but even so, this offering in the low-priced Roundabout Underground series is a provocative work from a new playwright, with a good cast and canny production.

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Steven
Suskin

November 2, 2011

You don’t need to read playwright Andrew Hinderaker’s articulate interview in Roundabout Theatre Company’s publication Upstage to know how sincere and well-spoken he is. A viewing of his new play "Suicide, Incorporated" makes that clear. Seriousness and intelligence, alas, aren’t enough to guarantee theatrical success, particularly when you have such an unbelievable premise fueling your drama. If one-third of your six-character dramatis personae are ciphers existing principally for plot purposes, the chances of success become even more remote. Though well-intentioned, this latest offering from Roundabout Underground cannot transcend its flaws.

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November 2, 2011

Playwright Andrew Hinderaker blends gallows humor with heartfelt drama in Suicide, Incorporated, playing in Roundabout Theatre Company’s intimate Black Box Theatre. Performed with spirit and directed with subtle style by Jonathan Berry, the production, though never fully satisfying, proves to be an entertaining offering and one that introduces an intriguing theatrical voice to New York audiences.

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