Disgraced distils arguments about race and religion in a boulevard comedy setting of a dinner party
An unnerving frisson runs through the nimble wit, toughness and pressing "now-ness" of New Yorker Ayad Akhtar's new play.
It distils arguments about race and religion in a boulevard comedy setting of a dinner party on the Upper East Side, then booby-traps the host, and the audience, in a messy post-prandial meltdown.
Above all, it shows how the intellectual fall-out from 9/11 is still radioactive among the professional classes: Hari Dhillon's Amir is a lawyer of Pakistani extraction hoping for a partnership in a Jewish company.
Much of it goes beyond the heat any of us might generate at dinner, but the play's cleverness lies in its roots in everyday "sounding off".
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