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.”

 

THE LAST DAYS OF JUDAS ISCARIOT at Forum Theatre

*Washington Post, “Maboud Ebrahimzadeh, ferociously bitter and despairing as Judas… unobtrusively nests while the debate largely swirls around him… The play demands everything from whiffs of burlesque to the intensity of chapel, and Vreeke’s 15 actors routinely turn it on a dime.”

*MD Theatre Guide, “Maboud Ebrahimzadeh is a magnetic force to be reckoned with as Judas… Ebrahimzadeh owns each moment he is given and passionately drives it with full force. I have to say Ebrahimzadeh’s final encounter with Jesus is emotionally heart-rending.  His desperate cries from a deep sense of loss and feelings of being betrayed are clearly evident.“

*Washington Citypaper, “…a spherical dais in the center, where the accused (Maboud Ebrahimzadeh) sits or lays, seeming to writhe in a hell more private than the one to which he may soon be banished.”

*BroadwayWorld, “As the title character, Ebrahimzadeh’s performance isn’t so much about what Judas says but more specifically what he conveys… Ebrahimzadeh is giving a focused and stellar performance. We can feel Judas’ struggle by looking into his eyes, and observing his lack of movement and response to others..”

WATER BY THE SPOONFUL at Studio Theatre

*DCTheatreScene, “the always commanding Maboud Ebrahimzadeh, who utters one sentence about a passport that must have hidden significance…”

*BroadwayWorld, “Every actor is exceedingly adept at showing his/her character’s pain, but determination to get through it all. Balancing humor with dramatic acting, they let the raw humanness of the characters shine through. There’s not a weak link in the bunch.”

EDGAR AND ANNABEL at Studio Theatre

*Washington Post, “edgy, energetic… Ebrahimzadeh magnetically combines a casual facade with bottled fury.”

*The Washingtonian, “In Ebrahimzadeh’s ex-military Nick, Twyford gets more than strong fledgling work. He is the real deal. In this and other shows where we have seen him—as the Iraqi interpreter in Round House’s Bengal Tiger at the Baghdad Zoo, and various shows with Forum Theatre—he has never been less than terrific, with the vocal, physical, and psychological heft of a pro. “

*Washington CityPaper, “Maboud Ebrahimzadeh and Emily Kester, each giving an ingeniously calibrated performance… Watching Ebrahimzadeh and Kester, two very good actors, deliver intentionally unpersuasive line readings of intentionally wretched dialogue while revealing their true feelings through action is the show’s most immediate delight.”

*DCTheatreScene, “Maboud Ebrahimzadeh as Nick is a strong, charming presence from the start.  He endears us with his suspicious outlook and obvious resistance to living by a script. The paucity of concrete information regarding life outside the apartment makes him attractive to the audience—for some reason, he’s the one character we trust. “

*BrightestYoungThings, “I was drawn in by the actors, flinching at times, nearly crying at others. It was almost addicting to watch, especially given the difficulty of creating such drama in one room.”

*BroadwayWorld, “Played with grace and authentic, tactical zeal by Maboud Ebrahimzadeh…”

*MD Theatre Guide, “Ms. Kester and Mr. Ebrahimzadeh do a fantastic job portraying the fictitious couple Edgar and Annabel of the play’s title.”

*TheaterMania, “As Nick, aka Edgar, Maboud Ebrahimzadeh brings a bemusing, mysterious nature to the role…”