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.
In truth, this is a superior production to the one that opened at Lincoln Center in 2012, with a more charismatic cast and a better sense of the rising ideological stakes. In the lead role of proudly assimilated lawyer Amir Kapoor, Hari Dhillon cuts a handsome, graceful figure...He has an easy chemistry with his pretty wife, Emily (Gretchen Mol), an artist whose recent work is influenced by Islamic ornamentation. The plot is mainly a vehicle getting its characters to a place where they show the cracks within carefully constructed social attitudes of worldliness or multiculti tolerance...Akhtar may not have revolutionary things to say about poorly repressed animosities between East and West, but he says them eloquently and passionately. Now that the context has changed, maybe I'm listening more closely.
2012 | Off-Broadway |
Lincoln Center Theater LCT3 Production Off-Broadway |
2014 | Broadway |
Broadway Premiere Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2015 | Theatre World Awards | Theatre World Award | Karen Pittman |
2015 | Tony Awards | Best Play | Greenleaf Productions |
2015 | Tony Awards | Best Play | Ayad Akhtar |
2015 | Tony Awards | Best Play | Rachel Weinstein |
2015 | Tony Awards | Best Play | Alden Bergson |
2015 | Tony Awards | Best Play | The David Merrick Arts Foundation |
2015 | Tony Awards | Best Play | The Shubert Organization |
2015 | Tony Awards | Best Play | Jere Harris |
2015 | Tony Awards | Best Play | Darren DeVerna |
2015 | Tony Awards | Best Play | TNTDynaMite Productions |
2015 | Tony Awards | Best Play | Ashley DeSimone |
2015 | Tony Awards | Best Play | Carl Levin |
2015 | Tony Awards | Best Play | Jonathan Reinis |
2015 | Tony Awards | Best Play | Jessica Genick |
2015 | Tony Awards | Best Play | Tulchin/Bartner Productions |
2015 | Tony Awards | Best Play | Stephanie P. McClelland |
2015 | Tony Awards | Best Play | Rodger Hess |
2015 | Tony Awards | Best Play | Richard Winkler |
2015 | Tony Awards | Best Play | Amanda Watkins |
2015 | Tony Awards | Best Play | Jenifer Evans |
2015 | Tony Awards | Best Play | Lincoln Center Theater |
2015 | Tony Awards | Best Play | The Araca Group |
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