DISGRACED is the story of a successful Muslim-American attorney who has renounced his religion and secured a coveted piece of the American Dream. Living high above Manhattan's Upper East Side, he and his artist wife host an intimate dinner party that is about to explode. Witty banter turns to vicious debate, and with each cocktail comes a startling new confession, painting an unforgettable portrait of our perception of race and religion.
Reviewing DISGRACED at LCT3 for The New York Times, Charles Isherwood wrote:
"This rollicking new play by Ayad Akhtar is a continuously engaging, vitally engaged play about thorny questions of identity and religion in the contemporary world. The dialogue bristles with wit and intelligence. Mr. Akhtar puts contemporary attitudes toward religion under a microscope, revealing how tenuous self-image can be for people born into one way of being who have embraced another."
Akhtar's blistering 'Disgraced' opened Thursday on Broadway at the Lyceum Theatre with a punch and power that won it a Pulitzer Prize. Few playwrights are examining what Akhtar does, certainly not with his insightfulness, and his play is breathtaking -- and not a little uncomfortable -- to watch. In the best of ways. An excellent five-person cast led by Hari Dhillon -- and beautifully directed by Kimberly Senior -- starts the play with swagger and confidence, building to horrific exchanges in which they are at each other's throats...Dhillon nails the master-of-the-universe strut and moves across the stage almost like a boxer when his anger is fueled, making his fall all the more painful, while Mol skillfully lets a silent gulf slowly emerge between her and her husband. But perhaps the best performances are turned in by Radnor (TV's 'How I Met Your Mother') and Pittman (Broadway's 'Good People'), two natural stage actors who get to be funny, outraged, needy, broken and feisty -- and manage to do it all in the 90-minute work.
Issue-driven plays are thought to be relatively impervious to production vagaries. That's generally true of Akhtar's perhaps overly schematic play, which is constructed like a house of cards, its highly civilized human relationships in perfect harmony until someone breaks out of character and throws them all off balance...Some of the production alterations for Broadway are purely cosmetic. Being more elaborate, John Lee Beatty's set design of a stylish Manhattan apartment (a terrace!) and Jennifer Von Mayrhauser's fashionable costumes put more emphasis on the elegant life style of the characters. The new cast, including Josh Radnor as the curator, is perfectly satisfactory, but so was the original one that played in the smaller-scale production at Lincoln Center...But it must be said that replacing Aasif Mandvi...as Amir with Dhillon...puts a new perspective on the central character.
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