Akhtar's script is as tightly woven as a richly tapestried Persian rug, unique in its tantalising and intertwined plot and electrifying in its relentless argument and impassioned debate. From the outset, Steve Francis's portentous soundtrack pervades set designer Elizabeth Gadsby's luxury New York apartment with a sense of foreboding.

It all begins innocently enough. Highly successful corporate lawyer, Amir Kapoor (Sachin Joab) is being painted by his artist wife, Emily (Geraldine Hakewill). The conversation turns to the plight of an imam, imprisoned on suspicion of collecting money to support terrorism, an accusation vociferously denied by Amir's young nephew Abe (Shiv Palekar) and Emily. An innocent and urgent request for Amir to argue on the imam's behalf, and its subsequent reporting provides the catalyst for Akhtar's powerful human tragedy. What ensues is a deep and disturbing analysis of human vulnerability. A dinner party, hosted by Emily and Amir with Jewish gallery owner and art dealer Isaac and his wife and colleague of Amir, Jory (Paula Arundell) erupts into a hostile assault on faith, opinion, and personal recrimination. With illuminating contemporary relevance, the dinner party descends into a violent confrontation and bitter attack on the irrefutability of personal conviction. In an ironic twist, Akhtar turns the argument to the personal with shocking revelations that leave Amir in a crouching position of agonised confusion. Forced to confront the consequences of his ambition, his belief and his actions, Amir is left struggling to search for his own truth, his true belief and his real identity.

Compelling, confronting and provocative, Sarah Goodes' superbly timed and deliberately paced production allows time between scenes for considered reflection. Her direction demands an audience to listen, to contemplate every action, absorb every idea and weigh belief with opinion in the search for truth and understanding. Goodes is assisted by a brilliant cast and creative team. As Amir, Joab gives a riveting performance in his depiction of a tormented soul brought down by hamartia, a single error of judgment that conspired with his other failings to bring about his downfall. He is supported by an outstanding ensemble in Hakewill as Emily, striving for mediation and reason in the interpretation of dogma, Shiv Palekar as the confused Pakistani-American youth, Glenn Hazledine as the self-assured, opinionated art dealer and Paula Arundell, feisty, forthright and forceful in her performance as Jory.

Disgraced raises a host of issues, brilliantly woven into the dynamic and evolving threads of Akhtar's totally absorbing drama. Akhtar avoids the didactic in his skilful depiction of the natural character of humanity. Goodes and her cast have created a thoroughly believable, pertinently contemporary and powerfully expressive portrait of our time, and for all time.

Disgraced. Written by Ayad Akhtar. Directed by Sarah Goodes. Sydney Theatre Company. The Playhouse. Canberra Theatre Centre. Until June 25. Bookings: canberratheatrecentre.com.au or 6275 2700.