THE PILLOWMAN at Forum Theatre

*Washington Post, “This version, too, often artfully exploits the border area between humor, suspense and dread. Part of the credit goes to Ebrahimzadeh’s persuasive portrait of Katurian as a laid-back yet cocky working-class striver and to Konicek’s affecting turn as the alarmingly childlike Michal.”

*DCTheatreScene, “Cannily shaded performances from Maboud Ebrahimzadeh and especially James Konicek are key draws in Forum Theatre’s revival… a nuanced and emotionally plangent rapport between Ebrahimzadeh and Konicek, who take the time to connect not just with the words and the claims in the text, but with each other’s eyes and bodies in the playing space. There’s a convincing sense that they’ve lived long together, that only they know what they know. And as the play’s circumstances force a change in that dynamic, the emotional cost for both men, and for the audience, is substantial.”

*TheatreBloom, “Ebrahimzadeh delivers his character with a striking level of vulnerability and earnestness. There is no subversion or provocation in his portrayal, only honest emotions, most of which translate plainly across his vividly expressed face. When Ebrahimzadeh delves into ‘storytelling mode’ either directly to the audience, like in cases of “The Writer and The Writer’s Brother” or in “The Little Jesus”, he becomes a vessel of words that transports the tale to our ears and our ears to the tale.”

*BroadwayWorld, “What keeps us intrigued are some solid performances led by Ebrahimzadeh, who anchors the production. He gives a wonderfully nuanced performance as Katurian, effortlessly channeling the character’s various layers. There’s the passionate storyteller, devoted brother and street-smart prisoner all of which we see in his relationships with each of the other characters.”

*DCist, “The actors are all willing and highly capable… with over-the-top-playfulness and imposing physical presences, bringing more than enough comedic chops to make the audience laugh… just enough barely-under-the-surface sadism to never make those laughs feel totally comfortable. Maboud Ebrahimzadeh’s Katurian plays off of this feeling well, knowing exactly when to play the straight man to [the] antics and when to open up and reveal some of Katurian’s many inner darkness (and there is more than enough to fill a show).”

*TakomaVoice, “Maboud Ebrahimzadeh is an engaging, but mentally tough, Katurian: fiercely loyal to his brother, yet ultimately most loyal of all to his calling as a writer. He makes you believe it.”

*DCMetroTheatreArts, “Ebrahimzadeh is a compelling Katurian, crafting a character who is disarmingly down to earth while flashing deep seated neuroses leading back to his parents’ horrific abuses.”

*Two Hours Traffic, “The ensemble is truly excellent, rising to the challenge of McDonagh’s dialogue and the plot’s dark twists and turns.  Ebrahimzadeh in particular is absolutely mesmerizing, from an affable charm in the first act to a haunting desperation as his situation takes an abrupt turn in Act II.”


News: PILLOWMAN at Forum Theatre in 2016

This just in, Maboud Ebrahimzadeh will be playing the role of “Katurian” in Forum Theatre’s upcoming production of Martin McDonagh’s PILLOWMAN in early 2016.

For more information about Forum Theatre and their upcoming season, visit Forum Theatre.

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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..”


     *CityPaper, “Ebrahimzadeh brings Tom Waits’ vocal cadence to his role as an enterprising homeless man who wants to direct a big movie, and who briefly lures Garner away from her dowdy but loyal beau, Wilson…”

     *DCTheatreScene, “It is the story of the boldness and self-confidence of Becker (Maboud Ebrahimzadeh), a man who lives in cardboard boxes and who is, ah, inattentive to matters of personal hygiene, who nonetheless pitches an idea for a guns-blazing conspiracy film, and who nods sympathetically when Susan (Julie Garner) complains about ‘dirt balls’….”

     *Washington Post, “Goldman’s youthful cast adopts an agreeably gung-ho attitude — the right affect for this academic evening…”

     *Maryland Theatre Guide, “As Becker, Maboud Ebrahimzadeh offers a memorable derelict/poet/visionary.”

SCORCHED at Forum Theatre

    *Washington Post, “Ebrahimzadeh is icily indifferent as the creative sniper. It’s a solid company, reaching heights without ever pushing.”

    *DCTheatreScene, “McWilliams, Strain, and Maboud Ebrahimzadeh (who plays, among others, a manic sharpshooter who takes gruesome photos of his victims) are excellent.”

    *Silver Spring Patch, “Ebrahimzadeh as Nihad even manages to bring a few light, comical moments to what is otherwise very dark and gloomy, and manages to do it without making a parody of the subject matter…”