Ayad Akhtar’s play ‘Disgraced’ received the 2013 Pulitzer Prize for Drama, and has since then been applauded for its cutting-edge honesty in London and New York as it makes its debut in Toronto.  Ayad is a Pakistani American actor and writer who was born in New York and grew up in Milwaukee.  Much like Mohsin Hamid (born in Pakistan, educated in the US, now lives in the UK) both writers delve into the psychology and the religious hypocrisy of what it takes to be Muslim.  To be in the spotlight after 9/11, the bone of contention and to be associated with global terrorism is now pretty much an everyday affair with most Muslims.  What makes ‘Disgraced’ stand out among current works about characters trapped in an anti-Islamic society is the way it unmasks its titular star of the show ‘Amir Kapoor.’

If you consider yourself a pro at ethnicity, you will have noticed his name in itself is conflicting, Amir being more or less Muslim in origin, whereas Kapoor is hierarchically Punjabi.  Played by the talented Raoul Bhaneja (of the solo Hamlet production that toured worldwide), Amir is a hotshot lawyer who works for a Jewish law firm (notice the inferences drawn to their age-old battle; Jews versus Muslim) whose parents migrate to New York from Pakistan.  However he changes his name and his antecedents and makes it out to seem (to his firm) that he is originally from India. Or rather his parents were till the British decided to split Hindustan into Pakistan.

What exposes his actual background, and family history, and becomes the game changer is the entrance of a nephew, Abe (shortened to Abraham possibly, and is played by Ali Momem, who was last seen as a Punjabi thug in ‘Deepa Mehta’s Beeba Boys) who insists that Amir attends the court hearing of a Mullah who is accused of using the funds from his mosque for terrorism.  Supported by Amir’s blonde and beautiful wife Emily (Birgitte Solem) who knows no better as the innocent lamb embroiled in this slaughterhouse of conflicted interests. As the case turns out Amir is compelled to abet to their convicting dialogue “that because of his lineage, and the Mullah’s guiltlessness, it makes perfect sense for both of them to be in the same room.”

But as it turns out, an expose of truth doesn’t always pan out in the happily ever after scenario.  At a seemingly beatific start to a dinner with friends—Amir (the Muslim in self-denial), his wife fondly referred to as ‘M’, a Jew called Isaac (Michael Rubenfeld) and his black wife Jory (Karen Glave), over wine, salad, grilled pork loin and cheesecake, wounds are exposed, masks drop, and the arguments escalate to acts of violence—starting with spitting, shoving, slaps, and ending with kicks in the stomach.   White American vs. Ethnic American, Muslim vs. Jew, Religion vs. Secularism, Anti-Semitism vs. Anti-Muslim, Bigotry vs. Plurality and acceptance, even Black vs. Brown as the word “Nigger!” is dropped like a bomb over Jory.

The reason ‘Disgraced’ works is because it intermittently refuses to take sides.  Sure, the plot is undeniably about a Muslim protagonist, but the underlying message is about snobbery, the foibles of a ‘multicultural’ society, do people of all faiths, religions, colors, and beliefs really make up a tangible weave of society, or is it a threadbare expose?  Do we really and truly ‘mix’ with others who do not belong to our clique?  Or do we only resort to being with people who don’t threaten the invisible cocoon that we’re comfortably ensconced within. It is also about ingrained presuppositions from our parents, peer groups and circle of influence that was without a doubt a hypothesis of their own reasoning that was imbibed by us—subconsciously. Unfortunately that rationale percolates into our psyche robbing us of our true identity to be humane to all.

Robert Ross Parker, the Director of ‘Disgraced’ in Toronto sums it up really well.  In his own words he says “Disgraced has the power to make us uncomfortable, and that is a rare and special thing in theatre.  Often plays move us, but Disgraced feels like a challenge.  I’m not sure how I am supposed to feel was my initial reaction to the piece.  And I believe that kind of provocation in art is rare and deeply valuable. This play has the power to change our assumptions, and the discomfort it creates is important.”

As this piece goes to press I believe that ‘Disgraced’ gets to play out a little longer at the Panasonic Theatre.  I hope Raoul and his troupe of great actors will be able to take it across the country.  ‘Disgraced’ certainly needs the largest audience it can possibly get.  It is a milestone in theatre, and unlike most plays that only get discussed after they end, over dinner…this one is likely to be remembered and discussed, over the years.  Hopefully, without culminating in mayhem.

Jude Paul Fernandes is the author of ‘Frost Bites: 12 short stories of being away, lost in the coldness of North America’ which is available at the Toronto Public Library.