The Daily News:
Transport Group’s production of Requiem for William is well-acted and powerful. Marni Nixon gives a strong performance in the most affecting work, The Boy in the Basement. The pieces demonstrate Inge’s gift for revealing the anguish, cruelty, hypocrisy and abject loneliness of his mostly small-town characters.
The New Yorker:
The seven short plays presented in Transport Group’s tribute to William Inge, Requiem for William, work surprisingly well as stage productions, and two stand out above the rest. To Bobolink, For Her Spirit gets terrific lift from Tina Johnson’s dead-on performance as a humorless celebrity-autograph hunter and The Boy in the Basement is a minor masterpiece.
Broadway.com:
Jack Cummings III of Transport Group is obviously a fan of Inge and his tribute, Requiem for William is startlingly ambitious. Thinking outside the box, Cummings has exhumed seven Inge one-acts, commissioned a song to end each play from some of the most gifted composers working in musical theater, and assembled 26 committed actors, from veterans like Marni Nixon and Taina Elg to unfamiliar young talent. The result is absorbing, buoyed by the music, singing, acting, and direction. For lovers of drama, this is a memorable and rewarding production.
Transport Group’s production of Requiem for William is well-acted and powerful. Marni Nixon gives a strong performance in the most affecting work, The Boy in the Basement. The pieces demonstrate Inge’s gift for revealing the anguish, cruelty, hypocrisy and abject loneliness of his mostly small-town characters.
The New Yorker:
The seven short plays presented in Transport Group’s tribute to William Inge, Requiem for William, work surprisingly well as stage productions, and two stand out above the rest. To Bobolink, For Her Spirit gets terrific lift from Tina Johnson’s dead-on performance as a humorless celebrity-autograph hunter and The Boy in the Basement is a minor masterpiece.
Broadway.com:
Jack Cummings III of Transport Group is obviously a fan of Inge and his tribute, Requiem for William is startlingly ambitious. Thinking outside the box, Cummings has exhumed seven Inge one-acts, commissioned a song to end each play from some of the most gifted composers working in musical theater, and assembled 26 committed actors, from veterans like Marni Nixon and Taina Elg to unfamiliar young talent. The result is absorbing, buoyed by the music, singing, acting, and direction. For lovers of drama, this is a memorable and rewarding production.