Category: Press
THE INVISIBLE HAND at Olney Theatre Center
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The reviews for The Invisible Hand at Olney Theatre Center! Follow the links for the full articles.
*Washington Post, “As Bashir, Maboud Ebrahimzadeh purposefully sounds Pakistani by way of London, and he blends the character’s defensive ego with a savvy streak… you can almost hear the brain and the blood whir…”
*MDTheatreGuide, “Maboud Ebrahimzadeh… gives a performance that can send chills down your spine—not so much for the rare instances of violence—but for the complete portrayal of a man so conflicted and so desperate to believe in the rightness of his cause that he practically vibrates at times.”
*DCTheatreScene, “Maboud Ebrahimzadeh delivers a mighty, sinewy performance as the London-born revolutionary Bashir who travels back to his ancestral land to follow the charismatic Imam Saleem. He has to navigate a tightrope, balancing Bashir’s altruistic desires, passionate beliefs, and the appalling actions he ultimately takes.”
*DCMetroTheatreArts, “It would be hard to find a better portrayer of Bashir than Ebrahimzadeh, who completely embodies this character. He becomes Bashir…
*CultureSpotMC, Interview with Maboud Ebrahimzadeh and Thomas Keegan, Full Article.
Poster for The Invisible Hand, Olney Theatre, 2018
Maboud Ebrahimzadeh as Bashir in The Invisible Hand
Maboud Ebrahimzadeh as Bashir in The Invisible Hand
Thomas Keegan and Maboud Ebrahimzadeh in The Invisible Hand
Maboud Ebrahimzadeh as Bashir in The Invisible Hand
Maboud Ebrahimzadeh as Bashir in The Invisible Hand
Thomas Keegan and Maboud Ebrahimzadeh in The Invisible Hand
Thomas Keegan and Maboud Ebrahimzadeh in The Invisible Hand
Resident Artist at Round House Theatre 2018-2020
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Feeling very proud and excited to say that I will be part of the inaugural class of Resident Artists at Round House Theatre from 2018-2020!
Read the full article in the Washington Post for more details about the big announcement at Round House Theatre.
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Murder on the Orient Express at Hartford Stage
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Continuing on it’s journey from the McCarter Theatre production in 2017, Murder on the Orient Express comes to Hartford Stage. Tickets and details can be found at HartfordStage.org
A snippet from Connecticut Magazine:
Man of Mystery
You could say Ken Ludwig has a thing about mysteries. After all, last fall his play The Game’s Afoot — centering on a murder at the castle-like Connecticut home of Sherlock Holmes actor William Gillette — played the Ivoryton Playhouse. This spring he returns to Holmesian turf with Baskerville at New Haven’s Long Wharf Theatre. But next up is his stage adaptation of Murder on the Orient Express, which runs Feb. 15-March 18 at Hartford Stage. It’s the McCarter Theatre production from Princeton, New Jersey.
I asked the prolific Ludwig what drew him to the genre, especially after his string of popular comedies including Lend Me a Tenor.
“People love mysteries and they never go out of style,” he says, adding that Holmes and Watson are among literature’s most famous characters. “But they’re really, really hard to write and they need to be devilishly clever.”
Ludwig says the Agatha Christie estate, looking to bring more of the author’s literary work to stage, film and television, approached him for a theater adaptation of one of her mysteries. Ludwig was eager to do Murder on the Orient Express — even if there was a major motion picture remake of that title that came out last year.
“It’s glamorous, it’s romantic and just the title itself is magic,” he says. “It is a bigger play than I usually write for the stage, but I’ve been able to cut the number of suspects down.”
He says, in a contemporary world seemingly out of control, the solving of mysteries is a kind of safe escape for audiences. “It may be a nice outlet for us now, as many of us are upset about the world, to escape out of our real-world problems for a couple of hours and then see justice done. And it’s the sense of justice — versus the rule of law — that is at the heart of Murder on the Orient Express.”
THE BOOK OF WILL at Round House Theatre
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The reviews for The Book of Will at Round House Theatre! Follow the links for the full articles.
*WashingtonPost, “… with winning lead turns from Todd Scofield and Maboud Ebrahimzadeh as the actors on a hunt…”
*CityPaper, “There’s really no reason this shouldn’t be the movie it already feels like, and it’s tough to imagine Hollywood could improve upon Round House Theatre’s cast: Todd Scofield and Maboud Ebrahimzadeh as Misters Heminges and Condell, respectively…”
*DCTheatreScene, “The chief virtue of Ryan Rilette’s production is the all-star ensemble and the rich variety of vibrant characters they bring to life… [Ebrahimzadeh’s Condell is] fiery and headstrong…”
*BroadwayWorld, “Henry Condell, hilariously played by Maboud Ebrahimzadeh… Under Ryan Rilette’s excellent direction, a uniformly marvelous cast gives one of the best ensemble performances I’ve seen this season of a very strong play.”
*EntertainmentOrDie, “… the leading pair of Scofield and Ebrahimzadeh really put the heart and soul into the story…”
*DCMetroTheatreArts, “Todd Scofield and Maboud Ebrahimzadeh give both these characters good presence…”
*MDTheatreGuide, “Ebrahimzadeh’s Condell offers a more fiery persona…”
THE PRICE at Arena Stage
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*Washington Post, “Maboud Ebrahimzadeh is another of Sueko’s assets; his earthy, blunt style feels exactly right as Victor. Ebrahimzadeh channels the character’s intelligence and good-guy ethics lightly, which is pivotal if you’re going to keep Miller’s play from feeling like a righteous harangue.”
*BrightestYoungThings, “The actor who pulls the play out of the fire is Ebrahimzadeh. He has the hardest work to do, playing moments of revelation, shame, moral righteousness, and quite a bit of pain, and he dives in. The climax is his.”
*BroadwayWorld, “Attention must certainly be paid especially to Maboud Ebrahimzadeh. He’s delivered a number of wonderful performances on area stages in the past few years (his performance in Round House Theatre’s Bengal Tiger at the Baghdad Zoo was particularly memorable), but his work at Arena surpasses all of that. It’s that sensational. Nuanced yet explosive acting when required, he reveals all of Victor’s many layers with considerable skill.”
*WomanAroundTown, “As Victor, Maboud Ebrahimzadeh goes toe to toe with Linden. Solomon uses the various pieces of furniture to draw Victor out about his father and their lives. Ebrahimzadeh displays a range of emotions during these conversations that sum up his feelings about his father and his life.”
*TheaterMania, “Maboud Ebrahimzadeh plays Victor with conviction, expressing just the right amount of tension until the last burst of fireworks, when he lets his temper flare completely. He alternates between those tense moments with his brother and extremely tender ones with his wife, who needs a lot of pampering.”
*Alexandria Times, “Playing off an exceptional performance of Maboud Ebrahimzadeh as Victor Franz, a frustrated cop who failed to realize his potential, this production, artfully directed by Seema Sueko, is a well-cast delight that brings both searing drama and mood-lightening humor to the American stage.”
*MDTheatreGuide, “Maboud Ebrahimzadeh portrayal of Victor is heartbreaking in his reactions to the family treachery he learns about. It is a pitch-perfect depiction of a good man coming to terms with decisions (a word used very often by his brother) that he had known nothing of, and yet which impacted his life so deeply.”
*MetroWeekly, “At the center is the put-upon Victor Franz, a man trying to stand his ground against the world’s expectations and his own self-doubt. Bringing a skillful mix of confidence and agitation, Maboud Ebrahimzadeh is memorably compelling as this husband and troubled younger brother. He very much gets Miller’s syncopation and his rhythms of expression…”
*TheDCMoms, “Go to The Price for Linden, but stay for the standout performance by Maboud Ebrahimzadeh…”
*DCMetroTheatreArts, “Ebrahimzadeh’s Victor might not have the edge of a police officer who has been on the beat for half his life, but he more than makes up for it with his stoically repressed delivery.”
