Working 9 to 5 – for an Easier Way Out
|Gift Theatre presents|
|Written by Andrew Hinderaker
Directed by Jonathan Berry
at Gift Theatre, 4802 N. Milwaukee (map)
through July 25th | tickets: $25 | more info
reviewed by Paige Listerud
Gift Theatre’s tightly woven cast make the most of Andrew Hinderaker’s world premiere one-act, Suicide, Incorporated. Directed by Jonathan Berry, the play cleverly provides them with a lot of most to make. First, it features a business whose mission is to mold a suicide’s dead-end perspective into a skillfully crafted final farewell letter; second, the play depicts the general corporate tendency to reframe life’s tragedies into manageable chunks of reality that will yield to its scripted dialogues and flowcharts. Scott, owner and founder of the business, is played with sharp, savage and mercenary relish by Ed Flynn. Yet even he is just using the tools he’s learned in business school to create order against the inexorable pull of suicide’s black hole. Too bad he cannot avoid creating new victims, like his manically kiss-ass assistant, Perry (Jay Worthington).
We find his new employee, Jason (Joshua Rollins), a writer of former Hallmark Card fame, already well down that rabbit hole—conversing with shadowy figures like his younger brother Tommy (Mike Harvey) and last-chance customers like wheelchair-bound Norm (Michael Patrick Thornton). The spookiness of Jason’s conversations with his brother doesn’t become apparent until midpoint through the play’s progress–this is perhaps the biggest flaw of Gift Theatre’s production or Hinderaker’s play. Stronger foreshadowing of Jason’s true relationship with Tommy is necessary for greater impact. Also, a clearer sense of Jason’s edginess would also lend veracity to his final intentions in the play’s last 15 minutes.
But, as a general rule, Suicide, Incorporated is not about family bonds—it’s about life under a business model, wherein the company of men becomes your real family, whether you want it to or not. All work and no play, that’s the quintessence of Jason’s character—stereotypically forming stronger bonds with the people he works with, or serves at work, rather than with his own flesh and blood. Lucky for the audience, Jason’s growing relationship with new customer Norm makes for the real backbone of the show.
Thornton’s performance as Norm is immaculate; every tic and pause perfectly timed—an actor’s showcase of steady, low-key, precise technique. Such an accurate portrayal makes Norm’s confession about how he ruined the love of his life simultaneously bizarre and eerily truthful. “How did I become one of those guys?” Norm asks; the lone guy you thought could never hurt a fly, the lone guy who loses his newlywed wife by stalking her. It’s a masterpiece of characterization.
All these lonely men—where do they all come from? That was the question I was forced to ask myself at the close of Suicide, Incorporated. If Hindraker’s play holds any water, then it seems that they all come from business school or from workplaces that barely feed their souls or even lets them know that they have souls to feed–or lives worth living outside the workplace. It’s only a one-act, but what goes missing the most from the play is the acknowledgement that these male characters were never encouraged to be whole to begin with. Once they have lost someone vitally important to them, yet existing outside the business model, will they ever get a real chance to be whole again?
Showtimes are Thursdays and Fridays, and Saturdays at 7:30pm with Sunday matinees at 2:30.
Featuring Gift Artistic Director and ABC’s Private Practice’s Michael Patrick Thornton with guest artists Josh Rollins, Mike Harvey, Ed Flynn, Jay Worthington and Jim Farruggio.