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.”



*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..”