McNeal is the perfect stage for Robert Downey Jr.’s Broadway debut, showcasing his natural talent and commanding presence. The role of Jacob McNeal hits pretty close to a role he’s played before — think Tony Stark with no chance at the heroics — but his performance and the role is nuanced.
So what’s the deal?
In our AI-driven world, the idea of machines taking over is pervasive. If I needed this review written in the style of me, I could just ask an AI to draft it. (I actually did this on social media last week, and it actually did do it.) Anyway, this very notion forms the core of Ayad Akhtar’s McNeal, a compelling new play open for a limited run at Lincoln Center.
Jumping back to the start — Downey stars as the title character, a brilliant but self-centered, alcoholic writer who wins the Nobel Prize. The character —a genius, narcissist, and womanizer—fits the actor like a glove, as he uses his charm and talent to navigate life. Downey’s captivating performance makes it easy to understand why people are drawn to McNeal, despite his flaws. The play explores the themes of AI and whether McNeal relied on it, paraphrasing his late wife’s manuscript and making it his own, and taking credit for it well on his way toward his long-coveted Nobel. His estranged son, Harlan (played excellently by Rafi Gavron), holds the answers, but ultimately, it doesn’t matter. We live in a world — obviously — where consequences have no consequences. Why take the hard way when the easy way is in broad daylight.
Downey is a powerhouse as he always is. The play rests on Downey’s powerful performance and succeeds for that. The supporting cast delivers strong performances. Andrea Martin shines as McNeal’s agent, while Ruthie Ann Miles, as his doctor, and Melora Hardin, as a former lover, are unfortunately underutilized. Director Bartlett Sher’s staging effectively highlights McNeal’s dependence on AI, portraying his world as me first yet empty.
