“The Doctor,” a British production now at the Park Avenue Armory, is a loose adaptation of Arthur Schnitzler’s 1912 play “Professor Bernhardi,” a drama about a man of science betrayed by popular opinion and selfish colleagues.
Juliet Stevenson’s voice is one of the most frightening things I ever saw. In April, 2021, with much of New York performance still under pandemic interdict, Simon Stephens’s socially distanced adaptation of José Saramago’s “Blindness” came to the Daryl Roth Theatre. The show was basically a radio drama: audience members sat in pairs six feet apart, wearing headphones, listening to a recording of Stevenson telling a horror story about a plague.
Icke borrows Schnitzler’s inciting conflict, including the illicit abortion, and also the ensuing firestorm of antisemitism, government cowardice, office-hierarchy jockeying, and anti-élitist fervor. In “The Doctor,” though, Bernhardi has been transmuted into Ruth Wolff , a tart and gifted founder of a dementia clinic, whose partner—and this is unknown to her co-workers—has been struck down with the condition. Icke’s adaptation piles yet more pressures on Ruth.
Icke’s innovative gesture, staging-wise, has nothing to do with that glacially rotating turntable, or with the rock-god drummer who plays in a window high above the stage. It has to do with his casting strategy—which provides a way of pacing the audience’s thinking while emphasizing his point that we shouldn’t equate identity with moral suasion. Ruth is a white woman, and Stevenson is, too.
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