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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."
By the end of Disgraced, Amir -- who seemed so richly human earlier, with his capacity for arrogance and shame and fear and pride and empathy -- has been reduced nearly to a victim, and his potentially intriguing journey to a sort of cautionary tale about ambition and bigotry. To Akhtar's credit, and that of director Kimberly Senior and her excellent cast, that tale is at least fun to watch. Hari Dhillon makes Amir...charming and frustrating, showing us both his cultivated slickness and his ongoing struggle to reconcile what he's experienced...with what he's become. Gretchen Mol movingly conveys Emily's own conflicts, and her fundamental decency.Josh Radnor and Karen Pittman provide witty, full-blooded performances as the Kapoors' guests, who seem to have their own issues...Their combined efforts make Disgraced consistently entertaining and thought-provoking -- just not as much as you wish it were.
Akhtar packs a lot into his scenes, in terms of both coincidence-heavy personal drama and talky disquisitions on religion and politics, but he usually manages to pull back from the edge of too-muchness. Director Kimberly Senior...shows an admirable restraint in her well-paced scenes...Dhillon, an American-born actor who's spent much of his career working in the U.K., shows more stiff-upper-lip reserve in the early scenes, merely pacing and fidgeting to signal Amir's discomfort in his own skin. It's an approach that doesn't go far enough to establish Amir's coiled volatility. The rest of the cast seem more attuned to the demands of the material; Mol in particular radiates a sensuous intelligence that is enormously appealing. B+
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