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But it soon became clear to me that, unlike “Professor Bernhardi,” written by a Jew, “The Doctor” is not very serious about antisemitism.

Not merely complacently sure of herself, like Bernhardi, she is, in Stevenson’s unflinching performance, a completely unsympathetic blowhard.

So far, the plot of “The Doctor,” Robert Icke’s adaptation of the 1922 play “Professor Bernhardi” by Arthur Schnitzler, aligns closely with the original, except that Bernhardi is a Viennese man in 1900 and Wolff a British woman today.

“The Doctor,” which opens Wednesday at the Park Avenue Armory in New York, is a reworking of Arthur Schnitzler’s 1912 drama, “Professor Bernhardi,” about a Jewish physician who refuses entry to a Roman Catholic priest trying to administer last rites to a patient dying from sepsis after an abortion.

Earlier in the year, the Burgtheater mounted the German-language premiere of “The Doctor,” Robert Icke’s 2019 rewrite of Arthur Schnitzler’s “Professor Bernhardi,” which was first seen at the Almeida, the London playhouse that Icke used to run.