The still raging battles between science and religion. The never ending chasm between Christians and Jews. A doctor’s oath to their patients. The politics of hospitals. Arthur Schnitzler wrote Professor Bernhardi in 1912 which was so contentious that the premiere happened in Germany not his own Austria. The Doctor is Robert Icke’s loosely adapted and vividly riveting adaptation.
Ruth Wolff is literally the top dog of this hospital. A patient is dying of sepsis from a botched self-administered abortion. Her family sends a priest to administer last rites. She refuses to let him in as the patient is dying and did not request the visit. Her obligation is only the medical well being of this young lady. A hundred years after this play was written the story is still relevant.
A media cyclone ensues and tensions escalate. The Executive Committee of the hospital is mixed in their support for its leader. The parents and the priest are in destruction mode. Careers are on the line; saving some while opportunistically elevating others. Personal and work life balance is addressed. Should we break our existence into smaller and smaller tribes whereby agreement is assured?
This full meal is expertly served by Mr. Icke as writer and director. Hildegard Bechtler’s sleekly modern set captures the sterile world of committees bereft of humanism and moneyed medical facilities. Lighting changes (Natasha Chivers) suggest additional scene locales notably Dr. Wolff’s home and a television studio. The production is handsome and appropriately cold.
For this modern retelling current hot buttons involving gender and sexuality are included. Both are handled frankly. They do not feel forced. As a result, the worries of yesterday are combined with those of today which might be predictive of the tribulations of tomorrow. There is a lot to sink your teeth into while absorbing this superbly executed staging.
Juliet Stevenson portrays the intensely devoted medical Doctor. Her performance is a towering achievement. There is heavy drama in the hardness of steadfast beliefs especially when those monumental walls begin to chip away. Every scene is believable and audience discomfort is assured.
John Mackey’s priest is equally self-righteous leading to the inevitable court of public opinion. That particular segment is as ugly as our television and social media outlets today. There is ingenious blind casting of race contained herein. Conclusions and conflicts are brought into stark relief as those revelations appear.
The entire cast is excellent. Jaime Schwartz’s Junior is a teenage maelstrom of emotions, trust and self-preservation. Juliet Garricks plays significant other Charlie with grace. Dr. Wolff is definitely a blowhard so the view into a homelife is welcome. Naomi Wirthner memorably inhabits the loyal Hardiman but also morphs into one of the enraged judges.
Witch hunt is the mood of this piece so the adaptation is timely. There is no simple solution offered. How you react to the material will depend on your own personal biases and beliefs. The Doctor has a lot to say and many themes to consider. A stellar presentation enhances the written word and the issues debated go around and around, never truly being resolved.
During COVID I saw Professor Bernhardi streamed from the excellent Schaubüehne theater company in Berlin. In Munich, I saw another adaptation written as Doktor Alici which included humor. The original play was sarcastically billed as a comedy in five acts. Mr. Schnitzler’s play is worth experiencing as long as these conflicts remain topical. I expect no movement on that front anytime soon.
The Doctor is running until August 19, 2023 at the beautiful and expansive Park Avenue Armory. Arrive early to view the historical rooms.