The show: “McNeal by Ayad Akhtar at Lincoln Center’s Vivian Beaumont Theatre.

What makes it special?: It’s a new play by the Pulitzer Prize winner of “Disgraced,” as well as the Broadway debut of Hollywood star Robert Downey Jr. It’s directed by Tony Award winner Bartlett Sher, too. But alas, the powerhouse trio delivers a dud.

What’s it about?: When we first meet him at the start of the play, esteemed U.S. writer Jacob McNeal (Downey) is on tenterhooks waiting to see if he will get the next Nobel Prize in Literature. But he also has other concerns: his alcoholism and other medical and mental issues that are hindering his new work and his outlook on, well, everything. Things get even more complicated as he deals with his estranged son, a former lover and a growing fascination, if not reliance, on Artificial Intelligence.

But first, how was Downey on stage?: He succeeds in having as strong a presence on stage that he has in films. However, Downey is typecast all too well as yet another of his cynical/smart/entitled/wise-guy roles. Neither this character, nor the performance, is anything special. Solid, but…

And the play?: Though “McNeal” seems to be raising intriguing questions about artificial intelligence, the play meanders, never seeming to come to a point, or even a compelling paradox. In the end, it’s a bit of a mess. Too bad, so it appears a great play about artificial intelligence is still to be written.

Not this one?: Though it touches on other important and complex issues of plagiarism, literary ownership, ethics, artistic freedom, and the creative process, the play never comes together as a coherent and effective whole. The same goes for the title character as more of his back story is revealed.

He’s a pompous, self-centered, smart-ass bore, and though there may be echoes of other real-life literary legends, there’s little charm or artistic integrity here, nor are there examples of this author’s brilliance to counter his exhausting angst. Though he rails against A.I., he turns to it in writing his new novel, with the thinnest of justifications. (Shakespeare kinda did it, he implies. Really?) He also absconds the personal stories and writings of those closest to him, including his late wife’s unpublished manuscript. (The latter is a well-worn plot on the issue of literary appropriation that was perhaps best explored in Donald Margulies’ excellent “Collected Stories” nearly 30 years ago.). The themes raised sound significant at first but when further examined are just muddled. Ironically there are times when you feel that parts of the play were written by A.I. (Is that the point perhaps? No. But even imagining that tells you a lot.)

For all the chatter about A.I by the characters, it never amounts to anything special, though given the stunning production design by Michael Yeargan and Jake Barton, one might think otherwise. Also impressive: lighting by Donald Holder, sound by Justin Ellington and Beth Lake, and digital effects by AGBO .

And the rest off the cast?: Andrea Martin plays his agent and gives the ponderous production a jolt of energy and humor (though an agent wouldn’t be McNeal’s editor — but then again it’s hard times in the publishing industry). The production wastes the always fine Ruthie Anne Miles in the generic role of McNeal’s doctor. Ditto Melora Hardin as McNeal’s ex-lover Francine. Rafi Gavron as McNeal’s adult son flounders in an awkward scene when father and son confront each other with family resentments and secrets, including a melodramatic bombshell that seems to have been dropped simply for shock purposes. Only Brittany Bellizeare as a New York magazine journalist profiling McNeal gets her scene with McNeal some sustained oomph.

Who will like it?: Forgiving Downey fans. Undiscriminating A.I. enthusiasts.

Who won’t?: Those looking for something special from Downey. Or Akhtar. Or Sher.

For the kids?: They’d be texting throughout.

Thoughts on leaving the parking lot: I’m an admirer oif Downey’s talent t but I wish he would have chosen a more challenging part (not to mention a better play). A revival of “Disgraced” would have been a more exciting endeavor. One hopes this lackluster experience doesn’t discourage him from returning to the stage for which he seems right at home. But one hopes he goes for a more challenge going character.

Info: Closes Nov. 24. 1 hour and 45 minutes, with no intermission.