*Washington Post, “Maboud Ebrahimzadeh plays Mohammed, the well-read doorman who is friendly with the Taubs. The character stands at a doorman’s station, just beyond the main playing area, frequently scribbling — a detail that suggests that Mohammed may be the aspiring writer who is penning Marjorie’s story. Judging by the entertainment value of the tale we see, he’s a doorman-writer with a future.”

*DCTheatreScene, “The tale is presented by a clever, helpful and patient doorman, Mohammed, embodied as an omniscient factotum by the gifted and versatile Maboud Ebrahimzadeh. Mohammed serves as a scribe, a handy man, a confidante throughout the evening and Ebrahimzadeh is perfect for the role.”

*CityPaper, “The other standout performer is Maboud Ebrahimzadeh, who plays Mohammed, the good-natured Iraqi doorman/handyman who works in the Taubs’ building. He’s our narrator, and his scrawlings appear as supertitles above the stage over the scene changes.”

*Washington Jewish Weekly, “The Iraqi-born doorman, Mohammed, who observes from the side of the stage at his sentry-like post, has a minor but essential role…. Maboud Ebrahimzadeh gives Mohammed the devilish charm that an unattached observer needs to take down his targets. With operatic eye rolls and exaggerated shrugs, the lives of his rich and angsty charges are put into perspective.”

*Washington Blade, “Narrating and sometimes participating in the tale is Mohammed, the Iraqi doorman played subtly and wryly by Maboud Ebrahimzadeh.”

*DCMetroTheaterArts, “Maboud Ebrahimzadeh’s stolid performance as Mohammed has the effect of grounding the play and its lightweight first world problems in a weightier context—even as the jokes fly fast and furious.”

*BroadwayWorld, “The strong cast, introduced to us by the bellman, Mohammed (played inspiringly by Maboud Ebrahimzadeh), work well individually and even better as a tight-knit ensemble.”

*MDTheatreGuide, “Maboud Ebrahimzadeh, veteran to the Washington stage, plays Mohammed an immigrant doorman the perfect quiet albeit judgmental observer.

*DCist, “The play is similarly lifted whenever Mohammed (Maboud Ebrahimzadeh) enters a scene, though he sadly spends most of the play behind a podium just offstage, reacting to the drama in the apartment, as if he is both author of, and an observer to, the story.”

*WETA, VIDEO (Watch Online from WETA)

THE LIAR at Gulfshore Playhouse

     *Naples Daily, “Nickell infuses the show with fun — and his actors toss that silliness out into the crowd. Keabler and Maboud Ebrahimzadeh’s ecstatic leather-clad Alcippe (he’s the hard-rocking hair-metal bad-boy who crashed this party)…”

*Theater Notes, “There’s no way, watching the “Liar” at work, that we aren’t, tenderly or ruthlessly, confronted by the lies we, each, have told, lies that had ramifications on other people caught in the web of our lies. But, what fun it is…. You almost have to go just to see what really professional actors can do with a really fine script…. There’s not a lemon in the whole grove. I promise an un-sour evening for everyone in the audience. The loud standing ovation didn’t lie.”

*ArtsCommentary, “This is one of those magical plays where everyone involved, onstage and offstage, is superlative and everything they do comes together perfectly. Kudos to Mr. Nickell, who gets the right tone of craziness and off-kilter humor from his very talented cast.”

*, “There’s not a weak actor in the bunch, but the most memorable performances include Alexis Hyatt’s formidable love interest Clarice; Maboud Ebrahimzadeh’s intense, ticked-off Alcippe (including some cool Michael Jackson dance moves); and particularly Kate Siepert as the twins Isabelle and Sabine — one is sexually aggressive, the other is an unapologetic sourpuss, but both are laugh-out-loud funny.”

JULIUS CAESAR at Folger Theatre

     *CityPaper, “As Casca, that scheming tribune whom Caesar wishes were fatter, Maboud Ebrahimzadeh sports the most minutely landscaped beard since Wes Bentley’s in The Hunger Games. His natural geniality makes him a devious pick for the guy who comes to Caesar’s house and beckons him to his death.”

*DCTheatreScene, “This dynamo ensemble leaves little room to love or despise any of the play’s ill-fated characters, which serves as testament to their success. Because there’s a beauty, even a poetry, in that ambivalence. From the Soothsayer… to Maboud Ebrahimzadeh’s treacherous Casca, every character is haunted by something.”

*TheHillIsHome, “Actually, it’s a bit like watching House of Cards. The flatterer Casca, played expertly by Maboud Ebrahimzadeh, provides a bit of humor and guilt, but most of the characters are far more plagued by the emotion than anyone in Netflix’s dangerous ensemble.”

*Metro Weekly, ” It’s equally hard to take your eyes off Maboud Ebrahimzadeh in his role as the weasly, duplicitous Casca…”

THE BFG at Imagination Stage

     *DCTheatreScene, “Veteran actor Maboud Ebrahimzadeh gives as ferocious a performance as “Meat Dripper” as he’s portrayed in any of his “grown-up” roles in The Last Days of Judas Iscariot and Scorched to name a couple gems…. Ebrahimzadeh goes from scary to drag as the Nordic Queen….”

*DCMetroTheaterArts, “Truly, the whole ensemble here shines in their performances. I particularly enjoyed Maboud Ebrahimzadeh’s scene-stealing turn as the Queen of Sweden.”