The basic of a new performance is a novel «Eugenie Onegin», who in the interpretation of Mark Weil has become an original structure. It's unusual because there are lots of the main heroes. There are five Onegins and about the same number of Tatyans in a «new» novel!. By the way, the group of Onegins is a charming international team… The Synthesis of Onegins, believe me, not only throws the audience into a tender emotion, also makes a «spicy» selfless playing of young actors. Irina Kochergina «EKO» October, 15, 1999
A magical reading of Chekhov’s vaudevilles is presented under the name of, «Chekhov LAB». Those who know me say that I’m a merry person, but I don’t remember when I laughed so loud. (Elena Levinskaya, «Theater» Magazine ¹ 1, 2006)
«…the production of the 1979 which has not lost freshness, with absence of any hint on the dogmatism, presented to us highly musical tremendous actors, choreographically is delicately balanced... ... These petty bourgeoisies, whose material and moral facade collapsed on our eyes literally, actually are not connected neither to any nationality nor with any regime». WAZ, Germany 25.06.1996
«Ecstasy With The Pomegranate» by M.Weil, Dm.Tikhomirov
This Performance - a drama about beauty, surrounded by ever observing admirers, of art, bordering with vulgar human desires, the search for art, broken frames of morality, about strength and weakness and embracing ones self, as we are, about a difficult merger of two different cultures, vagueness of time, and revolution. In general, varying degrees of everything. ENEYA13 Oktober 2006, Blog AFISHA: http://blog.afisha.uz/theatres/2006/10/13/o-spektakle-radeniesgranatom
…Yes, here is a parable alternates with a historical document, which inexorably confirms a rebellious spirit of Mashrab, who selected a difficult, but absolutely unique way of the world and truth perception. This is the way of a free spirit, who does not take the truth from strange, even notable, hands, the way of a maskaraboz (a buffoon), who impartially tells fair accusations to unrighteous rulers’ face. «Mashrab and Mozart – the accord of geniuses» by Yuriy Podporenko, «Vecherniy Tashkent», á May, 2006
«…You hardly had time to agree that this fantastic world much more attractive than real one, to rejoice that a heart-to-heart talk is light and swoon of the night doesn’t smart, but new affectations of Simon, who invents new religion and preaches it playing by an axe, sober as sal ammoniac. Our spectators have the ability to look around, to get the feel of new surroundings and…continue to live…and also, they have an undying traction to premieres. /…/The only one casual spectator, direct pupil of comics, couldn’t hold on, cried «Wow!» and the audience turned to him for a moment…/…/We had no choice but to wonder how so young and looked like little deer Bamby actress Alyona Lustina plays love – openly, touching and chastely». «Poor rich Liza» Galina Zhukova, Prestige, 06. 04. 2000.
TORTILLA FLAT - Musical in two acts on John Steinbeck`s novel of the same name
«Tortilla Flat» in «Ilkhom» this is the performance about how in people, who live doggy life, humanity does not die but rise to life and how kind, sincere dogs set an example to us, people, reminding that we are not a pack. Men and Dogs… «Men and Dogs» by Yuriy Aleksandrov, «Pravda Vostoka» newspaper, 11 April 1995
It is possible to name «Happy Beggars» a hymn of a theatrical fantasy, an ode to feelings and emotions, which allows both actors and spectators to become children and feel themselves happy. (Alisa Nikolskaya, «Culture», Moscow, 2002)
«Imitations of the Koran» is a play-catastrophe because the world, which is personified in it, has already been affected by internal disintegration. It is still possible to «imitate» the whole world view, but to find it, is already impossible. So, the film in the play will not be shot – gray ripples, which testifies the absence of a signal from outside flickers on the screen in the finale scene. (Roman Dolzhanskiy, «Kommersant», Moscow, 2004)
As a whole, the play brings you to a slow and furious gallop in the tendency to engage a, «tasty piece,» of the space under the sun and to think «why one failed?» (Malika Tursunkhodjaeva, «Humo», Tashkent, 2005)
«White White Black Stork» Elkin Tuichiev, Mark Weil
Carelessly frightening away the storks – their own children, adults broke not nests but lives. This is what the play of the «Ilkhom» is about, which rises to Shakespearian heights. (Stanislav Altunyants, «Pravda Vostoka», Tashkent, 1998)
The «Ilkhom» Theater, remaining true to European theatrical tradition and using contemporary means of expressiveness, attempts to actualize an important and eternal problem: «If we can not understand each other, then why did we did invent «love»? (Yuriy Podporenko, «Vecherniy Tashkent», 2005)
The basic of a new performance is a novel «Eugenie Onegin», who in the interpretation of Mark Weil has become an original structure. It's unusual because there are lots of the main heroes. There are five Onegins and about the same number of Tatyans in a «new» novel!. By the way, the group of Onegins is a charming international team… 
A magical reading of Chekhov’s vaudevilles is presented under the name of, «Chekhov LAB». Those who know me say that I’m a merry person, but I don’t remember when I laughed so loud. (Elena Levinskaya, «Theater» Magazine ¹ 1, 2006)
«…the production of the 1979 which has not lost freshness, with absence of any hint on the dogmatism, presented to us highly musical tremendous actors, choreographically is delicately balanced... 
This Performance - a drama about beauty, surrounded by ever observing admirers, of art, bordering with vulgar human desires, the search for art, broken frames of morality, about strength and weakness and embracing ones self, as we are, about a difficult merger of two different cultures, vagueness of time, and revolution. In general, varying degrees of everything.
…Yes, here is a parable alternates with a historical document, which inexorably confirms a rebellious spirit of Mashrab, who selected a difficult, but absolutely unique way of the world and truth perception. This is the way of a free spirit, who does not take the truth from strange, even notable, hands, the way of a maskaraboz (a buffoon), who impartially tells fair accusations to unrighteous rulers’ face.
«…You hardly had time to agree that this fantastic world much more attractive than real one, to rejoice that a heart-to-heart talk is light and swoon of the night doesn’t smart, but new affectations of Simon, who invents new religion and preaches it playing by an axe, sober as sal ammoniac. Our spectators have the ability to look around, to get the feel of new surroundings and…continue to live…and also, they have an undying traction to premieres. /…/The only one casual spectator, direct pupil of comics, couldn’t hold on, cried «Wow!» and the audience turned to him for a moment…/…/We had no choice but to wonder how so young and looked like little deer Bamby actress Alyona Lustina plays love – openly, touching and chastely».
«Tortilla Flat» in «Ilkhom» this is the performance about how in people, who live doggy life, humanity does not die but rise to life and how kind, sincere dogs set an example to us, people, reminding that we are not a pack. Men and Dogs…
It is possible to name «Happy Beggars» a hymn of a theatrical fantasy, an ode to feelings and emotions, which allows both actors and spectators to become children and feel themselves happy. (Alisa Nikolskaya, «Culture», Moscow, 2002)
«Imitations of the Koran» is a play-catastrophe because the world, which is personified in it, has already been affected by internal disintegration. It is still possible to «imitate» the whole world view, but to find it, is already impossible. So, the film in the play will not be shot – gray ripples, which testifies the absence of a signal from outside flickers on the screen in the finale scene. (Roman Dolzhanskiy, «Kommersant», Moscow, 2004) 
As a whole, the play brings you to a slow and furious gallop in the tendency to engage a, «tasty piece,» of the space under the sun and to think «why one failed?» (Malika Tursunkhodjaeva, «Humo», Tashkent, 2005) 
Carelessly frightening away the storks – their own children, adults broke not nests but lives. This is what the play of the «Ilkhom» is about, which rises to Shakespearian heights. (Stanislav Altunyants, «Pravda Vostoka», Tashkent, 1998)
The «Ilkhom» Theater, remaining true to European theatrical tradition and using contemporary means of expressiveness, attempts to actualize an important and eternal problem: «If we can not understand each other, then why did we did invent «love»? (Yuriy Podporenko, «Vecherniy Tashkent», 2005)
