Michael Patrick Thornton
CHICAGO – The eponymous subject matter of Andrew Hinderaker’s enthralling new work “Suicide, Incorporated” is hardly a newfangled muse to dramatists. The concept of one’s self-sanctioned execution has inspired the minds of media architects from Poe to the executives at Lifetime Television Network (the latter of which tends to default to the exertion habitually). The question of an individual opting to terminate his life, especially when the meaning of which plagues the majority of us, is nary an easy one. Hinderaker’s take on the matter, both in stylized approach and explication, proves to be one of the most cerebrally exigent of the lot.