As a friend and I left Ayad Akhtar’s Disgraced, which premiered two years ago, nabbed the Pulitzer Prize and recently moved to Broadway, he mused that you don’t see a lot of in-depth “issue” fare in pop culture. Even Homeland’s ripped-from–Al Jazeera realism is a cover for spy-versus-spy melodrama, and the vast majority of movies favor the tentpole over the bully pulpit. I told him issue plays are scarce in theater, too, especially on the Great White Way. Maybe that’s why I liked Disgraced more this time around. In truth, this is a superior production to the one that opened at Lincoln Center in 2012, with a more charismatic cast and a better sense of the rising ideological stakes. In the lead role of proudly assimilated lawyer Amir Kapoor, Hari Dhillon cuts a handsome, graceful figure (different to the simmering suavity of original Amir, Aasif Mandvi). He has an easy chemistry with his pretty wife, Emily (Gretchen Mol), an artist whose recent work is influenced by Islamic ornamentation.