(Photo credit: Matthew Murphy and Evan Zimmerman)
By: Darryl Reilly
Robert Downey Jr. admirers will be ecstatic by his magnetic lead performance in playwright Ayad Akhtar’s swirling contemporary drama, McNeal. Making his Broadway debut after close to 40 years as a major Oscar-winning screen presence, Mr. Downey dazzles for 100 minutes.
Downey portrays Jacob McNeal, a hard drinking controversial American novelist battling health woes who after 15 years of being a contender, wins the Noble Prize for Literature. Personal complications include his wife who committed suicide, his contentious young adult son and a rocky past affair with a media figure. Harnessing his charismatic wise cracking film persona, Downey delivers a grand star turn to much of the audience’s delight in this valid celebrity theatrical event.
Mr. Akhtar’s fragmented, engaging work knowingly captures the present Manhattan literary milieu (“No one reads Saul Bellow anymore.”) through sharp eventful scenes laced with surrealistic flourishes. Arthur Miller’s original title for Death of a Salesman was The Inside of His Head; that quality could be interpreted in McNeal. Much of it is concerned with the repercussions of Artificial intelligence on creativity. McNeal is often asking an AI model for solutions to his writing situations. Indeed, a New York Times journalist crafting a post-Noble Prize profile of McNeal for The Sunday Magazine, raises charges of plagiarism. Akhtar successfully renders several plot threads with ambiguity, authentic details, and a smooth command of dramatic writing; pivotal characters collide with McNeal.
Andrea Martin as McNeal’s feisty loyal agent expectedly delights with her honed comedic depth. Luminous Ruthie Ann Miles is serene as the doctor firmly yet tenderly treating McNeal. The beaming Brittany Bellizeare saucily spars with McNeal as the reporter. Soulful Rafi Gavron is impactful as the anguished combative son. Captivating Melora Hardin as the former lover beautifully conveys the senses of faded romanticism and rage at having been used as fodder in McNeal’s novels. Enchanting Saisha Talwar scores with her subtly sly appearances as the agent’s assistant.
Exhibiting the visual grandeur demonstrated in his stagings of celebrated musical revivals, director Bartlett Sher emphasizes theatrical spectacle with this large-scale production which suits the material. Scenic designers Michael Yeargan and Jake Barton’s glorious, varying Manhattan cityscapes often wrap around the stage with their modern furnishings on display, all achieving epic scope. From a giant iPhone to a Stockholm travelogue ,to kinetic scientific imagery and starkly shown monologues, Jake Barton’s projection design is magnificent and integral to the presentation’s success. Donald Holder’s dreamy lighting design and Justin Ellington and Beth Lake’s pulsing sound design contribute to the fantasyland-dimension of that much of what we are experiencing is perhaps in McNeal’s head. Costumer designer Jennifer Moeller’s inspired everyday wear realistically realizes the characters.
“AI, what the fuck just happened?” wryly asks McNeal during the arguably vague finale. It is possible that some theatergoers could find McNeal talky and confusing. Others may find it be challenging, affective and a stimulating opportunity to experience Robert Downey Jr. onstage in a new play.
McNeal (through November 24, 2024)
Lincoln Center Theater
Vivian Beaumont Theater, 150 West 65 Street, in Manhattan
For tickets, visit www.mcnealbroadway.com
Running time: one hour and 40 minutes with no intermission