Some of the reviews of Henry IV at Folger Theatre!
Follow the links below to read the full articles and see what they are saying about the show.
*DCTheatreScene, “There are some wonderful performances — … the redoubtable Maboud Ebrahimzadeh, who achieves great separation in two really different roles….”
*DCTheatreArts, “Each actor in these supporting roles has a unique and captivating interpretation.”
*The Zebra, “Maboud Ebrahimzadeh, plays Blunt and Mortimer, both to perfection! Ebrahimizadeh is an actor’s actor! I never tire of seeing him morph into the different roles he plays.
The reviews of OSLO at Round House Theatre
Critics are weighing in on the production of OSLO at Round House, and it’s a hit! Follow the links below to read the full articles and see what they are saying about the show. For Tickets and more information visit the Round House Theatre.
*Washington Post, “The most successful players in this epic canvas happen to be Weaver, as Terje’s wife and Norwegian foreign ministry staffer Mona Juul, and Maboud Ebrahimzadeh, portraying Ahmed Qurei, the chief PLO negotiator…. Ebrahimzadeh locates in Ahmed the sensitive human being threatening to emerge amid the testosterone-fueled posturing and the platitudes.”
*WTOP, “the Palestinian side includes Hassan Asfour (Ahmad Kamal) and Ahmed Quire (Maboud Ebrahimzadeh), who delivers the show’s most memorable performance.”
*DCTheatreScene, “a sublime ensemble cast working at their peak of power… Maboud Ebrahimzadeh, in a masterful performance of delicacy and fire….”
*DCMetroTheatreArts, “There is a marvelous, nuanced performance by Maboud Ebrahimzadeh as PLO Finance Minister Ahmed Qurie. He gives a layered voice and strong mannerisms to his character.”
*Talkin’Broadway, “Rilette’s actors understand how to craft detailed, sometimes contradictory characterizations as they talk and come into conflict with each other. Ebrahimzadeh, achingly tender as Qurie recalls his childhood in Jerusalem before the establishment of Israel….”
For tickets and more information visit the Round House Theatre.
Some of the reviews for OIL at Olney Theatre Center! Follow the links for the full articles.
*DCTheatreScene, “Maboud Ebrahimzadeh is mesmerizing in both roles as “the stranger who knocks,” first entering as an American entrepreneur investor in the new energy, oil. Later, as a Libyan OPEC negotiator, he is tough and incisive, and, whatever political stripe you are on, you can’t dismiss the character’s voice, which may indeed prove history is on his side.”
*MDTheatreGuide, “Maboud Ebrahimzadeh captures the charming William Whitcomb as well as the newly empowered Libyan, Mr. Farouk.”
The reviews for King John at Folger Theatre! Follow the links for the full articles.
*Washington Post, “Graves and Maboud Ebrahimzadeh are among other cast members who provide sharply defined performances and reveal a masterly ease with the verse.”
*TheatreBloom, “Posner’s creativity and eye for the minute, blended with the raw talent and force of this cast, make this an unmissable experience.”
*DCTheatreScene, ” The haunted eyes of Maboud Ebrahimzadeh as Lord Salisbury reflect great pools of despair and displacement, all adding up to solid ensemble-ship.”
A bunch of reviews for Small Mouth Sounds at Round House Theatre are in! Follow the links for the articles below including a full on radio interview with WTOP!
*MDTheatreGuide, “This cast is small but mighty, everyone perfectly suited to both their character and also the larger challenge of conveying that character without the support of much dialogue…. This performance was an emotional triumph that truly took the audience on a personal journey along with the cast. I’d strongly recommend taking this journey yourself, if only to remind yourself that you are not alone.”
*DCTheatreScene, “Maboud Ebrahimzadeh, supplely playing a yogi whose motives may be more carnal than transcendental, a yogic soba noodle who twists himself into studly poses to be admired by all assembled…. We are asked to turn it down and tune into the silences that either fill us with peace or paw at our uncertainties and disquiet. Small Mouth Sounds, with its gentle humor and compassion, reveals to us the many ways in which words get in the way.”
*BroadwayWorld, “The silence of Small Mouth Sounds intensifies the emotional impact of every dramatic or comedic moment on stage. Initially, it may be harder to know where the action is onstage but no matter where you look on stage, Small Mouth Sounds delivers engaging theatre.”
*Washington Post, “A vaguely famous, enviably flexible and undeniably handsome man is played with bristling confidence and a catlike smile by Maboud Ebrahimzadeh…. Give this batch of actors credit for being persuasively alive and revealingly interconnected at all times, even when there’s nothing for them to do but wait for the next thing to happen.”
*DCMetroTheaterArts, “Small Mouth Sounds is a rare theatrical experience that not only invites us to think our own thoughts along with the characters but leaves us quiet time to do so. And whether we experience such shared quietude as transcendent or a send-up, this semiserious comedy generously leaves up to us.”
*DCist, “Small Mouth Sounds succeeds as a formal innovation because the cast is evenly terrific. These characters are similarly—and thoroughly—damaged.”