By AJ Jaffari

What happens when a literary giant finds himself haunted by both his creations and his conscience? San Jose Stage’s production of Ayad Akhtar’s McNeal delivers a sharp, timely drama that probes the cost of genius and the fragility of identity in an age of shifting truths. With biting wit and unflinching honesty, Akhtar examines the uneasy marriage between ambition and morality, fame and failure, art and exploitation.

At the center is Jacob McNeal, a celebrated novelist grappling with writer’s block, personal demons, an alcohol addition, and the shadow of his own legacy. As he wrestles with questions of authenticity and the ethical boundaries of storytelling, his relationships fracture and his sense of self begins to unravel. The result is a complex, thought-provoking portrait of a man—and an artist—at war with the very ideals that once defined him.

As someone who frequently uses AI, I found the questions raised in this play especially jarring. Jacob’s increasing reliance on the technology at the end of his career forced me to ask: what happens to art when AI can so closely mimic the voice of a legendary author? And perhaps more importantly, will we even be able to tell the difference? It’s an ethically and morally complex dilemma—one that I found both necessary to confront and deeply intriguing.

I have to give a massive round of applause to Johnny Moreno in the titular role, which carries the heaviest weight of the production. On stage for every scene and tasked with delivering several lengthy monologues, Moreno shoulders an immense challenge with striking command. This role demands hard-hitting lines and emotional risk, and he never shied away from either—a feat that is anything but easy. Having seen Moreno perform before, I knew to expect sharp timing, but here I found myself fully enraptured by his portrayal of a character both brilliant and deeply fractured.

With such a small cast and nowhere to hide, every performer delivered strong work—but two side characters stood out to me the most. The first was Storm White as Natasha: the seemingly meek reporter who ultimately challenges McNeal in ways no one else dares. It’s a pivotal role, but White elevated it beyond the page, making her presence quietly commanding and impossible to look away from.

Another huge round of applause goes to Bridgette Loriaux for her stellar performance as Francine, a complex and emotionally demanding role. While the play maintained its sharp, punchy pacing throughout, her scene stood out for its raw emotional weight—not just because of the plot itself, but because of the vulnerability she brought to it. The tears streaming down her face broke me, and I felt every ounce of that emotion in the moment. Hats off, truly.

The production itself, like every show at The Stage, was superb. Erik Scanlon’s projection design was particularly striking—so vivid and dynamic that it often felt like another character on stage. The detail and precision clearly took immense time and care to create, and the result was nothing short of astounding.

Another standout for me was Steve Schoenbeck’s sound design, which fully immersed me in the world of the play. As an audience member, it’s a gift to feel like a fly on the wall, quietly observing the story as it unfolds, and the sound accomplished exactly that.

Finally, hats off to director Randall King for pulling together yet another innovative, thought-provoking production at The Stage. I’ll admit, I’m always a little apprehensive walking into a new play—especially as a devoted musical theater lover. But this one gripped me from start to finish. I highly recommend catching McNeal before it’s too late.

McNeal runs through October 19 and tickets are available here.