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"Sparkling and combustible" (Bloomberg Businessweek), "DISGRACED rubs all kinds of unexpected raw spots with intelligence and humor" (Newsday). "In dialogue that bristles with wit and intelligence, 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.... Everyone has been told that politics and religion are two subjects that should be off-limits at social gatherings. But watching these characters rip into these forbidden topics, there's no arguing that they make for ear-tickling good theater" (New York Times). "Add a liberal flow of alcohol and a couple of major secrets suddenly revealed, and you've got yourself one dangerous dinner party" (Associated Press).
- Sales Rank: #120435 in Books
- Published on: 2015-12-15
- Original language: English
- Dimensions: 7.50" h x 5.25" w x .25" l, .15 pounds
- Binding: Paperback
- 52 pages
Review
"The best play I saw last year.... [a] quick-witted and shattering drama.... DISGRACED rubs all kinds of unexpected raw spots with intelligence and humor." ---Linda Winer, Newsday
"A sparkling and combustible contemporary drama.... Ayad Akhtar's one-act play deftly mixes the political and personal, exploring race, freedom of speech, political correctness, even the essence of Islam and Judaism. The insidery references to the Hamptons and Bucks County, Pennsylvania, and art critic Jerry Saltz are just enough to make audience members feel smart.... Akhtar...has lots to say about America and the world today. He says it all compellingly, and none of it is comforting." ---Philip Boroff, Bloomberg Businessweek
"Compelling... DISGRACED raises and toys with provocative and nuanced ideas." ---Jesse Oxfeld, New York Observer
"A continuously engaging, vitally engaged play about thorny questions of identity and religion in the contemporary world.... In dialogue that 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.... Everyone has been told that politics and religion are two subjects that should be off limits at social gatherings. But watching Mr. Akhtar's characters rip into these forbidden topics, there's no arguing that they make for ear-tickling good theater." ---Charles Isherwood, New York Times
"[A] blistering social drama about the racial prejudices that secretly persist in progressive cultural circles." ---Marilyn Stasio, Variety
"Terrific.... DISGRACED...unfolds with speed, energy and crackling wit.... The evening will come to a shocking end, but before that, there is the sparkling conversation, expertly rendered on the page by Akhtar.... Talk of 9/11, of Israel and Iran, of terrorism and airport security, all evokes uncomfortable truths. Add a liberal flow of alcohol and a couple of major secrets suddenly revealed, and you've got yourself one dangerous dinner party..... In the end, one can debate what the message of the play really is. Is it that we cannot escape our roots, or perhaps simply that we don't ever really know who we are, deep down, until something forces us to confront it? Whatever it is, when you finally hear the word 'disgraced' in the words of one of these characters, you will no doubt feel a chill down your spine." ---Jocelyn Noveck, AP
"Offers an engaging snapshot of the challenge for upwardly mobile Islamic Americans in the post-9/11 age." ---Thom Geier, Entertainment Weekly
"Akhtar digs deep to confront uncomfortable truths about the ways we look at race, culture, class, religion, and sex in this bracingly adult, unflinching drama... [He] writes incisive, often quite funny dialogue and creates vivid characters, managing to cover a lot of ground in a mere four scenes and 80 minutes. Akhtar doesn't offer any solutions to the thorny issues he presents so effectively. What he does is require us to engage them, and that's a very good and necessary thing." ---Erik Haagensen, Backstage.com
"DISGRACED stands among recent marks of an increasing and welcome phenomenon: the arrival of South Asian and Middle Eastern Americans as presences in our theater's dramatis personae, matching their presence in our daily life. Like all such phenomena, it carries a double significance. An achievement and a sign of recognition for those it represents, for the rest of us it constitutes the theatrical equivalent of getting to know the new neighbors-something we had better do if we plan to survive as a civil society." ---Michael Feingold, The Village Voice
"Skillfully adopts the well-worn dramatic device of the imploding dinner party to scratch beneath the surface of multicultural harmony.... Smart, spiky entertainment.... A stimulating, sobering work from a distinctive new American playwright."―David Rooney, Hollywood Reporter
About the Author
Ayad Akhtar is a screenwriter, playwright, actor, and novelist. He is the author of the novel American Dervish and was nominated for a 2006 Independent Spirit Award for best screenplay for the film The War Within. Disgraced was produced at New York's Lincoln Center Theater in 2012 and was awarded the 2013 Pulitzer Prize for Drama. Akhtar lives in New York City.
Most helpful customer reviews
12 of 12 people found the following review helpful.
Wonderful thought provoking play.
By muddyboy1
This is a contemporary play shows modern day Americans trying to come to grips with differences in cultural and religious perspectives. The characters interact both in familial and workplace relationships. The central characters are Christian, Muslim and Jewish. It is written with sensitivity and respect with no hint of bias showing just how difficult it sometimes is to see things from another person's point of view. There is a reason that this play won the Pulitzer Prize as it really challenges us to think. I would definitely recommend this fine piece of literature for those who truly want to read something you will continue to ponder long after the final page is read.
11 of 11 people found the following review helpful.
Explosive. Jarring. Uncomfortable. Astonishing.
By Christian Engler
Ayad Akhtar’s 90-minute one-act Pulitzer Prize-winning drama is one of those rare theatrical works that can leave a reader rather immobile when in the midst of processing the combustible nature of it. In the background of your mind, you think to yourself, Is he sincerely going to go down that road and say publicly what you and everybody else might be thinking but are too polite to mention in casual conversation? And then, he does. Then, a volatile awkwardness ensues, and you have to take a breather to get a second wind for the next spitfire dosage.
The play involves lawyer Amir Kapoor, a disavowed Muslim raised American, who, for the sake of his career, glosses over and dismisses the traditions and values of his Muslim heritage. By doing so, he feels that that he will not be intimately connected with the primitive and zealous back woods fanaticism of extremists, despite that there are kernels of appreciation that he has for his roots. Yet, his wife, Emily, a burgeoning art celebrity who uses Muslim themed elements in her artwork values the Muslim tapestry, traditional and otherwise, that her husband, Amir, shuns. Before and during an important dinner party for Emily’s Jewish art dealer and agent named Isaac and his wife Jory who happens to be Amir’s lawyerly coworker, Amir and Emily discuss a controversal case which might involve religious discrimination of an Imam, a Muslim holy figure who seems to wield some influence over Abe, Amir’s Americanized nephew. After being mentioned in a write-up in the prestigious New York Times as a possible unofficial supporter and or helper of the defendant in question, Amir begins to quake at how it might make him look if he’s associated with an iman who supposedly financially supported terrorist related groups. The charges, too, may be trumped-up and falsified because of politics, ignorance and cultural insensitivity, and this, too ignites Amir’s ire, which lies just beneath the surface. He is between a rock and a hard place. And when the flood gates open, they open wide indeed with an outpouring of venomous dialog that can churn the discomfort level to the extreme, especially so when Isaac and Amir begin to politely “converse.”
Disgraced is appropriately titled, because, by the end of the play, that is exactly what happens to all the characters. They become disgraced, though the disgrace factor varies for each one. Some carry more weight than others, and Amir seems to be the biggest loser in this jolting, vitriolic post 9-11 peep into the judgmental conflict between cultures, politics and ethnic groups. All five characters are changed in ways that they never thought they would be. New enlightenments are unpleasantly gleaned because of the teaspoon of vinegar that they must all be forced to drink. This was a great and surprising play that was very worthy of the Pulitzer Prize.
7 of 7 people found the following review helpful.
Never read anything like it!
By N. Khan
Wow, this is a must-read! The play really gets into that ambivalent space where MANY Muslims live, but we are NOT represented in mainstream media. It's funny, smart, controversial, & VERY thought-provoking!
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