Long Wharf Presents A Compelling ‘Disgraced’

The show: “Disgraced” at New Haven’s Long Wharf Theatre.

What makes it special?: Connecticut premiere of Pulitzer Prize-winning play by Ayad Akhtar.

First impressions: What begins as an elegant New York dinner party of two upscale couples ends in one of the most devastating, marriage-destroying, identity-shattering, assumption-killing evenings that will have theatergoers both stunned and stimulated. Under Gordon Edelstein’s crisp, clear staging, Long Wharf Theatre presents a compelling production of the acclaimed new play that should be at the top of anyone’s theatergoing list.

What’s the story?: Amir (Rajesh Bose), a corporate lawyer in mergers and acquisitions and his beautiful artist wife, Emily (Nicole Lowrance), live a splendid American-Dream life in Manhattan filled with the finest desserts from Magnolia Bakery and $600 Charvet shirts. (Drool over Lee Savage’s set design of their apartment and Ilona Somogyi’s costuming.)

The Pakistanti-born and thoroughly assimilated Amir is on the verge of partnership at the law firm and Emily is about to have her paintings — that are inspired by Islamic art — exhibited at a prestigious gallery.

Into this picture-perfect setting comes Abe (Mohit Gautam), his nephew, who asks Amir — who abandoned his Islamic faith, name and identity years ago to be assimilated into his new country — to help defend an imam accused of funding terrorists. It sets off an increasingly dramatic series of events that threaten his job, marriage and ultimately his sense of self that explodes at the dinner party from hell. (Don’t be deceived by the fennel salad with anchovies. Everything that will be served up will be toxic.)

At the dinner party — which takes place during a time Amir feels that his status at the firm is in jeopardy because of his heritage (and for his misinterpreted association with the iman) — is Jory (Shirine Babb), an African American colleague at the firm. With her is husband Isaac (Benim Foster), who is Jewish, and a curator who is helping Emily get exhibited, and who is encouraging her explorations of Islamic tradition in her art.

Over many drinks, a stressed-out Amir reveals that he is not as distanced from his culture and faith as he wants to believe. The increasingly heated discussion about “Islamo-fascism,” the diverse interpretation of the meaning of Quran (“one very long hate mail letter to humanity,” says one) and 9/11 is further mixed with jealousy, resentments and betrayals, leading to a devastating conclusion. The work, even after several years on various stages, is as compelling to contemporary times as ever.

Reservations?: Although the play’s big scene veers into exchanges that perhaps lay everything on the table a little too neatly and didactically, the drama is riveting nonetheless.

The cast: Lowrence beautifully and movingly conveys the deep and complex love she feels for her husband and her art, and her profound ache in what happened in her home. As the invited guests, Foster is properly pretentious, funny and sharp as Isaac, and Babb shows her character’s cool control, calculations and authority. Gautum makes a solid professional debut as the nephew with evolving identity issues of his own.

Although he comes up short in the corporate elegance, slickness and smoothness of the character — and signals too well his deep anger within — Bose is effective in his big scene, although we might not fully feel his fall, as tragic as it is. Still, the final soul-challenging image of the play is a haunting one.

Who will like it?: Theatergoers who relish works that deal with complex, contemporary issues that connect to real people and their lives.

Who won’t?: Theatergoers who like easy-listening plays. Those averse to vivid violence on stage.

For the kids?: Sharp-minded teens who follow the real news could find these complex identity issues engrossing. Not suitable for younger kids because of language, violence and geopolitics.

Footnote: This is the most produced new play in America this season, no doubt why. This co-production will play at Boston’s Huntington Theatre Company starting in early January.

Twitter review in 140 characters or less: Incendiary topics of religion, culture and identity light up the stage in blazingly dramatic and executed production.

Thoughts on leaving the parking lot: I’m kicking myself for not making a connection among three provocative plays this month in Connecticut that deal theatrically, imaginatively and intensely with the theme of cultural and religious identity: the premiere of Paula Vogel and Rebecca Taichman’s “Indecent” at Yale Rep, Arthur Miller’s “Broken Glass” at Westport Country Playhouse and now “Disgraced” at Long Wharf. A theatergoer at all three — or four, if you wanted to throw in “Book of Mormon” — would be engaged, entertained and challenged with a world of faith and ideas. And a graduate student in dramaturgy would have a thesis project.

DISGRACED continues through Nov. 8 at Long Wharf Theatre, 222 Sargent Drive in New Haven. The running time is 90 minutes with no intermission. Tickets are $25 to $85. Information: www.longwharf.org and 203-787-4282.