MOUZAM MAKKAR

 

PYGMALION

 

"... a very engaging and compelling performance by Mouzam Makkar, an atypical Eliza who makes much here of the two extremes of the role. Her pre-Henry Eliza is a long way from Audrey Hepburn with a few smudges of soot on her face: Makkar forges quite the feral creature, wallowing around on the floor of the back theater at Theater Wit, before, in total contrast, transforming her famous character into a woman newly educated in the inequities of the world who has acquired a withering intellectual bite and far less softness than is typical. If Makkar's Eliza feels anything at all for Henry, you would not know. And, frankly, that's an approach that works."

- Chris Jones, CHICAGO TRIBUNE

 


 

"Makkar also happens to be wonderful in the role - fiery, proud, whip-smart and compellingly watchable. And this is only the latest of many recent performances in which she has demonstrated her star quality."

- Hedy Weiss, CHICAGO SUN TIMES

 


 

"As played by Mouzam Makkar, this Eliza is as rough as she'd have to be to survive by selling flowers for pennies apiece without support from her irresponsible father or much of a social welfare system. She's not a girl who would sing "I Could Have Danced All Night." Even as she improves her diction, and later her understanding of the etiquette of the time, she's the same person in many ways. Ms. Makkar not only nails the challenge of creating a single character even as Eliza undergoes such dramatic changes, but her interpretation of Eliza of a rugged girl of the streets is both more credible and more useful in illustrating the points Shaw was making about England's class system in the early 20th Century. It's a refreshing and enlightening take on the character that is miles away from the softer, more romantic Eliza of My Fair Lady or even Wendy Hiller's Eliza in the Pygmalion film."

- Scotty Zacher, CHICAGO THEATER BEAT

 


 

"Cockney flower girl Eliza Doolittle (the terrific Mouzam Makkar) ... Mouzam Makkar's rich articulation from street utterances to proper speech was most effective. Her strong-willed Eliza begged for acceptance and to be treated as a person rather than an experiment. She fights Higgins to the end."

- Tom Williams, CHICAGO CRITIC

 


 

"Makkar does a fine job throughout but her best work is at the beginning, when she courageously plays the pain of a lifetime of being casually dismissed for being poor."

- Rory Leahy, CENTERSTAGE

 


 

"Leads Steve O'Connell and Mouzam Makkar bring bristling intelligence to their strong-willed characters, both of whom use intellectual achievement to harness their chaotic emotions"

- Albert Williams, CHICAGO READER

 


 

"...Ms. Makkar who has an original and fresh take on Eliza. She is at all times fully invested in her character and takes full advantage of the much stronger Eliza that Shaw initially intended."

- Michael J. Roberts, SHOWBIZ CHICAGO

 


 

"...the Cockney flower-girl Eliza Doolittle (the extraordinary Mouzam Makkar)"

- Kelly Kleiman, WBEZ 91.5

 


 

"Makkar’s transformation from a rough, stubborn Eliza into a delicate, "proper" woman is handled beautifully believably"

- Cat Wilson, CHICAGO THEATER REVIEW

 


 

"...(Makkar) makes for a fetching Eliza"

- Scott C. Morgan, WINDY CITY TIMES

 


 

"...Eliza Doolittle (a delightful portrayal by Mouzam Makkar)..."

- Alan Bresloff, AROUND THE TOWN CHICAGO

 

DIRTY

 

"... Mikayla Alvarez (Mouzam Makkar manipulating others with disguised authority)"

- Johnny Oleksinski, NEWCITY

 


 

"...Mikayla Alvarez, the company figurehead who is portrayed with stunning authority by Mouzam Makkar"

- Keith Glab, CHICAGO THEATER BEAT

 


 

"And a brainy, multi-cultural stunner, Mikayla (the dazzling Mouzam Makkar)"

- Hedy Weiss, CHICAGO SUN TIMES

 


 

"... electrifying Mouzam Makkar"

- Anderson Lawfer and Eric Roach, ERIC & ANDY'S REVIEWS YOU CAN IEWS

 

GRUESOME PLAYGROUND INJURIES

 

"Joseph's two-character, 90-minute drama traces the up-and-down relationship between Doug (Tim Martin, darkly goofy and hapless) and Kayleen (the breathtakingly beautiful and gifted Mouzam Makkar)."

- Hedy Weiss, CHICAGO SUN TIMES

 


 

"Mouzam Makkar is searing as the insular depressive he longs for"

- Dan Jakes, CHICAGO READER

 


 

"Makkar is stunning as Kayleen at every age. She has the insouciance of an 8 year old that thinks that everything Doug does is stupid or gross until he reveals his gift for on demand bulimia."

- Scotty Zacher, CHICAGO THEATER BEAT

 


 

"Martin and Makkar are careful and caring listeners who have a truthful concern for each other's well being. Makkar's soft-spoken Kayleen is driven by an unquenchable curiosity of the wider world around her."

- Johnny Oleksinski, NEWCITY

 


 

"Makkar and Martin are both very likable performers with great chemistry, tenderness and humor."

- Rory Leahy, CENTERSTAGE

 

MELANCHOLY PLAY

 

"Mouzam Makkar is luminous as Tilly, the siren of sorrow"

- Nancy Malitz, CHICAGO ON THE AISLE

 


 

"...the youthful Tilly, played with a richness by Makkar that contrasts her small frame"

- Johnny Oleksinski, NEWCITY

 


 

"Makkar delineates a convincing emotional shift"

- Oliver Sava, TIME OUT CHICAGO

 

THE FEVER CHART: FOUR VISIONS OF THE MIDDLE EAST

 

"Mouzam Makkar, playing the Israeli nurse's aide whose death benefits a strategic stranger, manages to play both Wallace's moment and her moral with equal conviction."

- Scotty Zacher, CHICAGO THEATER BEAT

 

1001 (REMOUNT)

 

"... what really works in this production of New York playwright Jason Grote's script is the contemporary love affair between Dahna the Arab and Alan the Jew, played with touching innocence by Mouzam Makkar and Joel Gross. Their relationship is the realest thing on the stage, in every sense of real: both naturalistic and genuine."

- Jonathan Abarbanel, THE DUELING CRITICS, WBEZ 91.5

 

ROMEO AND JULIET

 

"Mouzam Makkar is stunning as Juliet and has nice chemistry with Andrew Carter's Romeo...they do deliver the solid dramatic through-line upon which all else depends"

- Glenn Kaufmann, THE HERALD TIMES

 

1001

 

"Only the brave and seductive storyteller Scheherazade (the impossibly beautiful and gifted Mouzam Makkar, who should become an instant star as a result of her performance here) believes she can tame him and survive."

- Hedy Weiss, CHICAGO SUN TIMES

 


 

"(Makkar) helps ground the play by creating characters that feel more realistic...as the primary storyteller, she has fantastic diction, and her voice commands attention when she speaks."

- Oliver Sava, CHICAGO THEATER BLOG

 


 

"As the primary narrator, Mouzam Makkar frames the show with authority."

- Katy Walsh, CHICAGO NOW

 


 

"Enter Scheherazade (stunning Mouzam Makkar) with her plan to forestall the king"

- Beverly Friend, CHICAGO CRITIC

 


 

*A favorite performance in the Chicago Sun Times' 2010 in Review: Best moments in theater "Mouzam Makkar, totally new to me, was a stunner in Collaboraction's '1001', a version of 'The Arabian Nights.' "

- Hedy Weiss, CHICAGO SUN TIMES

 


 

*New City's top 5 shows of 2010

 


 

*Huffington Post's top 5 shows of 2010

 


 

*Chicago Theater Blog's top 25 shows of 2010

 


 

*Time Out Chicago's top 20 Honorable Mentions of 2010

 


 

TWELFTH NIGHT

 

"There are moments here that are the strongest I've seen in any staging. This is particularly true in the comic interludes involving the "gulling" of Malvolio - set in motion, significantly, by an Indian servant, Maria (a saucy Mouzam Makkar)"

- Kerry Reid, CHICAGO TRIBUNE

 

HERE WHERE IT'S SAFE

 

"Makkar has the best performance in the production, capturing the youthful brattiness of a teenager combined with the emotional maturity of a wife and mother forced to make tough choices. She is a blank slate with the ability to project and withhold intentions and motivations from her scene partners and the audience."

- Barry Eitel, CHICAGO THEATER BLOG

 


 

"Played with intense joy and complexity by Mouzam Makkar, who puts a human face on the transaction"

- Nina Metz, CHICAGO TRIBUNE

 


 

"Particularly strong are Makkar as Beena, a benign manipulator walking the thin line between naive and exploitative"

- Caitlin Montanye Parrish, TIME OUT CHICAGO

 


 

"Makkar's hope and naivete is heartbreaking as her character searches for a leg up"

- Lisa Buscani, NEW CITY

 


 

"the radiant Mouzam Makkar, giving a beautifully measured performance"

- Robert Bullen, FRAGMENTS

 


 

"Makkar gives Beena equal depth, depicting a young woman who is at once guileless and relentlessly, unfairly demanding."

- Catey Sullivan, EXAMINER

 

YONI KI BAAT

 

"Mouzam Makkar's unflinchingly charming delivery provided a fascinating examination"

- Venus Zarris, CHICAGO STAGE REVIEW