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."
The brisk and bristling 'Disgraced' confers on Broadway a quality in far too short supply: topicality. Ayad Akhtar's spiky drama...grapples with a subject as rich in dramatic possibility as it is juicy fodder for Sunday morning talk shows. Akhtar's concern here is Islam in America...As directed by Kimberly Senior, the 85-minute play...is all rhetorical sharp edges, honed by a solid cast headed by Hari Dhillon, Gretchen Mol and Josh Radnor...It's an admirably taut evening, marred slightly by a few instances of overeager performance: some shouting and gesticulating encouraged in the pumping up of the play's fireworks. Otherwise, 'Disgraced' is just what a serious theatergoer craves these days: a tough-minded inquiry that finds urgent dramatic connections in things that divide us.
This bigger, more glamorous Broadway version exposes more faults and infelicities, but also strips away one's liberal pieties more effectively. Perhaps Disgraced won the 2013 Pulitzer Prize not so much for drama as for bravery...Akhbar's craft is such that, amid the rubble of his argument, the questions -- and they are important ones, worth asking on Broadway -- survive. Perhaps, after all, the argument was just a house for the questions, and not, as is more typical, vice versa...In general, though, the Broadway resizing and recasting does not work to the play's advantage. Kimberly Senior's direction grows stronger as the play proceeds, but nearly derails the story at the start, with confusing staging and flaccid pacing. And though Hari Dhillon is riveting in his unraveling, he does not make us understand, as the charming Aasif Mandvi did Off Broadway, what was so delightful about Amir before the trouble began.
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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