NEW YORK – This has certainly been Robert Downey Jr.’s year.

After winning an Oscar in March for his powerful performance in “Oppenheimer,” Downey also received an Emmy nomination for HBO’s “The Sympathizer” and landed a lucrative deal for two upcoming Marvel films. His presence in the entertainment world remains strong with “McNeal,” a new Broadway play that, while thought-provoking, can feel unwieldy. It debuted on Monday at Lincoln Center’s Vivian Beaumont Theater.

Written by Pulitzer Prize winner Ayad Akhtar (“Disgraced”), the drama centers on Jacob McNeal (played by Downey), a pompous character recently diagnosed with severe liver failure. Just as he receives the call announcing he’s won a Nobel Prize for literature, he’s preparing to promote his new book, “Evie.” However, allegations of plagiarism threaten to overshadow his book’s debut, compounded by Jacob’s own reckless behavior.

Throughout the play, Jacob often seems like a character from a lengthy Bill Maher rant, complaining about social media and how today’s youth no longer read. His remarks sometimes cross the line, like a racist joke aimed at his young South Asian assistant (Saisha Talwar), and he provocatively labels an insightful Black journalist (Brittany Bellizeare) a “diversity hire” while praising Harvey Weinstein in a drunken interview. (“Guys like him were getting what they wanted,” Jacob smugly states.)

If he’s not critiquing the changing nature of truth, he’s lamenting a past with politicians like Ronald Reagan who “at least tried to convey something.” When confronted by his estranged son (Rafi Gavron) and ex-girlfriend (Melora Hardin) about using their painful memories in his writing, he dismissively claims, “Carnage be damned. I’m doing God’s work.”

The main issue isn’t that Jacob is an unlikable character; many recent popular fictional creations – like Lydia Tár from “Tár” or the Roy family in HBO’s “Succession” – are morally flawed. However, unlike those characters, we seldom witness Jacob’s inner struggles or vulnerabilities. Spending time with him can be draining, and even Downey’s charm has limits when trying to balance Jacob’s unbearable traits.

“McNeal” is Downey’s inaugural performance on Broadway, following a brief engagement in the 1983 off-Broadway musical “American Passion.” While many stars at his level often opt for classic pieces to debut in, Downey deserves recognition for choosing a new work that strives to provoke discussion and resonate with audiences.

The theme of artificial intelligence, particularly the debate over its merits, is woven throughout the story. Several scenes take place in a digital realm, brought to life through the effective projections by Jake Barton and the set design by Michael Yeargan. A massive iPhone screen and an eerie AI-generated portrait of Downey make appearances during the performance.

Jacob criticizes chatbots right from the start, arguing that they only tell us what we want to hear, dulling our awareness of life’s harsh realities, like illness and mortality. He even tests AI’s capabilities by opting to “write” a new book with ChatGPT, but the complex issues this raises are inadequately explored.

“McNeal” disappointingly wastes the talents of Broadway stars Andrea Martin and Ruthie Ann Miles, who appear briefly as Jacob’s frantic agent and concerned doctor, respectively. Ironically, this play replicates the type of production that Jacob himself would likely deride for being devoid of genuine substance and full of shallow provocations.

“McNeal” is set to run until November 24 at New York’s Vivian Beaumont Theater (150 W. 65th Street).