Reviews

“But Omar’s exquisite performance made the case that Girl is every bit as “stopped” as the fellow musician with whom she develops the most complex and hypnotic of relationships. She thrust her character’s emotional journey to the fore, working with director Katie Spelman to find something new in this lovely show, and it was beautiful to watch.” -Tribune Top Ten Performances of 2023

“But Spelman, whose work has grown immensely over the years and who has a long association with this show, also has subtly shifted the balance of the show more toward the character of Girl, beautifully played by Dana Saleh Omar, a standby on the national tour of “The Band’s Visit.” In the original production of “Once,” Girl felt at times like an angel sent to redeem Guy (here, the deeply vulnerable Matt Mueller, of that famed theatrical family), in the pixie dream girl sense, albeit more zen than manic. But in this staging, Girl’s emotional journey as a young mother, stopped herself, is thrust to the fore with quite a remarkable effect. It’s a subtle change, as wrought by director and actress with Mueller’s generous support, but most palpable.” - Chicago Tribune

“Dana Saleh Omar is no manic pixie dream girl who simply exists to propel Guy on his journey. Omar's portrayal of Girl's insistence on acts of love and devotion, large and small, come across as rooted in her experiences of grief, yet fiercely and honestly celebratory. Certainly her chemistry with Matt Mueller's Guy is arresting, as it must be, but her moments with her mother Baruska (Bethany Thomas) and her roommates, particularly Elisa Carlson's hilariously deadpan yet slinky and sensual Reza, linger in the mind and heart.” -Talkin Broadway

“Dana Saleh Omar matches Mr. Mueller with her extraordinary portrayal of Girl. Delivering her lines with a humorous, rapid-fire cadence, Ms. Omar’s perfect diction, dialect and dry humor wring unexpected comedy from a character who, because of her heritage, claims she’s always serious. She’s not, and the audience is grateful because of it. Dana’s musical ability, both vocally and at the piano, are exquisite. In addition to providing the harmony on “Falling Slowly,” and sharing the plaintive song, “If You Want Me,” she provides a beautiful eleventh hour ballad in “The Hill.” This diminutive actress takes a hold of our hearts and never lets go, especially when her character finally gives in to her buried emotions.” - Chicago Theatre and Concert Reviews

“… and the lively and guileless Czech immigrant who takes it upon herself to revive his nearly dead hopes and dreams. Omar’s Girl would brighten anyone’s life.” - Chicago Onstage

“At its heart, this is a story about love, and Mueller and Omar share an intimate and authentic chemistry as they bring that to life. If you are anything like this writer, you may just find yourself rooting for their success – especially when the two sing their duets.” - Picture This Post

“The leads, including Matt Mueller as Guy and Dana Saleh Omar as Girl were fantastic. Matt played the part of a forelorn Irish man perfectly, and Dana nailed her role as the Czech woman who comes into his life at just the right moment to bring him out of darkness.” - Splash Magazines

“He meets “Girl” ( an amazing performance by Dana Saleh Omar), a Czech woman, impressed by his music, tries to convince him that the songs could win back this woman.” - Around The Town Chicago

“A charming ensemble of four multi-talented actors/musicians, all making their company debut – Dana Omar as The Woman, Emily Peterson as The Traveler, and Reggie D. White as The Man, along with Philadelphia favorite Charlie DelMarcelle as The Musician – plays multiple roles with clear distinction and an array of American folk-style instruments (banjo, ukulele, guitar, mandolin, harmonica, piano, kazoo, flute, spoons, and finger cymbals) with tones that underscore the shifting moods of the narrative.” - DC Review

“Omar captures a spirit of childlike wonderment as both Abilene and the dying little girl Sarah Ruth, and believably switches into her roles as a series of adults, china dolls, and the adorable canine Lucy.”

“Dana Omar (The Woman) has the unenviable task of playing a couple of children. She rises to the challenge, bringing to life more than one child you will want to wrap your arms around and take home with you.” – Talkin Broadway

“There are enough first-rate performances — Button as Orestes, Lindsey Gavel as Elektra, Dana Omar as a seething Goth Medea, Briggs' self-loathing Agamemnon and Erin Barlow's wholly first-rate Antigone — that you feel like you are in safe hands, at least in one sense of that term.”- Chicago Tribune

“It cannot escape notice that this is a game cast, brimming with enthusiasm, verve, and talent. Each player is tasked with numerous roles, and it is to their credit that each character receives a vivid portrayal, no matter how small. The ensemble is quite remarkable, such that to praise any performer over another seems misguided; they are bright lights all, even when struggling at times under the weight of the massive undertaking.” – Gapers Block

“Dana Omar (Médée, Cruesa, Kalchas, and Cousin Dolon), who can unpack the radioactive bitterness of Médée, that most unfortunate of women, screen it with a smile and leave it twice as sharp with the lisping queen Cruesa, and then wriggle away into adorable creatures like the bat-child seer Kalchas. It takes great skill to be able to hold present such bright emotional power and then filter it through so many prisms.” – Chicago Theatre Review

“Blame for this error goes to Ruth (a lively Dana Omar), his nitwitted nanny, who thought she was dropping him off for career training with a group of pilots….” LA Times

“Of these desirable lovelies, only Mabel (who is also played by the gamely resourceful Omar) opens her heart to poor forlorn Freddy.” LA Times

“Graney has switched the genders and thus the good men of the Pinafore are actually good women — Ralph becomes Ralphina (Dana Omar, who is very charming)” – Chicago Tribune

“Dana Saleh Omar does double duty as Ruth and Mabel, no mean feat given the 30-year age difference between the characters and the significantly different vocal demands made upon them. She handles the sometimes quick transitions with aplomb; her best vocal moment is in “A Paradox,” a second act trio she shares with Aivazian and Pfautsch.” – DC Metro Arts

“Dana Omar playing the Composer also proved her comedic chops with her Captain Obvious-esque statements and on-point line delivery.” – Picture This Post

“Omar’s portrayal of Fanny Mendelssohn, slightly self doubting but totally game, always a half step-behind all the other proceedings, slowly blossoms into the electric excitement of the Composer and her striving for perfection. She also possesses a truly beautiful voice, like melting butter laced with cinnamon: warm and sweet, rippling golden waves of delectable sound. “- Chicago Theatre Review

“Dana Omar truly wins your heart and soul with her character of Fanny! “ – Around The Town Chicago

“Though it's not surprising that the topsy-turvy version of the love story works: Dana Omar and Doug Pawlik have considerable charm as, respectively, the humble tar Ralphina and her beloved Joseph, the captain's sweet son.” – Chicago Reader

“Of the six, Fadwa, wonderfully played by Dana Saleh Omar, is the most eager” -Cape Cod Times

“As both the homely Ruth, who mistakenly arranges Frederic’s pirate servitude, and as Frederic’s object of affection, Mabel, the multitalented Dana Omar gives arguably the most impressive musical performance, on more than one occasion, though especially on the banjo, which she plucks with unremitting fervor. Omar has a robust and versatile voice, too, that can resound operatically or even soften in plaintive fashion, as in when she melts the audience’s hearts during “Stay Frederic, Stay.” – LA Excites