BWW Reviews: R-S Theatrics Funny and Touching SUICIDE, INC.

November 13
10:48 PM 2012

BWW Reviews: R-S Theatrics Funny and Touching SUICIDE, INC.

It's interesting to me when a play can effectively walk the fine line between drama and comedy, and Andrew Hinderaker's play, Suicide Inc., does just that. When it's funny, it's crass and hilarious, but when it's not, it's actually touching and sad. And, there's a good hopeful ending that balances things out neatly. R-S Theatrics current staging of this eclectic and intriguing work is a well performed and nicely directed (Christina Rios) production that's deserving of your time and attention.

Jason decides to get a job at Legacy Letters, a place where potential suicides can go to have an artfully crafted letter put together for their loved ones. Jason used to work at Hallmark, but quit his job several months ago when a traumatic event occurred in his life. He's grilled by the owner, Scott, because he's had suicide hotline people trying to get on, and all they do is try and talk the potential customers out out of their decision. His lone employee is Perry, an overly sensitive sort who he maligns on a regular basis.

Mark Kelley does sensitive work as Jason, a direct contrast to the aggressively blunt Scott, played by the sharp as a tack B. Weller. Charlie Barron deftly plumbs the depths of despair as Norm, a client who's determined to do himself in. Mark Saunders is also quite good as Perry, and Aaron Dodd does a nice job as Jason's younger brother, Tommy. Andrew Keller contributes nicely as a sympathetic cop.

Suicide Inc., is a well crafted little play, running a brisk 90 minutes. This production by R-S Theatrics at the Gaslight Theatre (through November 18, 2012) is definitely worth checking out.


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Chris Gibson Chris has been active in the local theatre scene for over 30 years. In addition to his acting work, he's also contributed as a director, writer and composer. Though, initially a film buff, he grew tired of the sanitized, PG-13 rated blockbusters that were being continually shoved down his throat by the studios. An opportunity to review theatre in St. Louis has grown exponentially with the sudden explosion of venues and talent in the region. He now finds himself obsessed with witnessing those precious, electric moments that can only happen live, on stage.

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