The Shark is Broken

THE SHARK MIGHT BY BROKEN, BUT THIS PLAY WORKS ON EVERY LEVEL - HIGHLY RECOMMENDED!

There are just so many reasons to want to see The Shark is Broken, Ian Shaw’s play based in his father Robert Shaw’s account of filming Jaws. Firstly, Jaws itself is just so iconic: one of the first true summer blockbusters, it offers a masterclass in creating suspense; its film score from a then practically unknown John Williams has entered musical history as one of the most recognisable leitmotifs of all time; and it turned what could have been a simple ‘monster’ movie into a commentary on everything from PTSD and survivor guilt to corporate greed and political accountability – or lack thereof.  It is genuinely hard to overestimate the sheer cultural impact the movie, making this intimate, behind the scenes view a must see for film buffs.

But beyond the movie itself, I must admit to being a glutton for the behind the scenes gossip – especially for films which are successful because of the onscreen chemistry between their leads. The Towering Inferno is a great example – the Steve McQueen/Robert Newman rivalry became part of Hollywood lore, but it didn’t overshadow the film—it arguably enhanced it, adding a layer of tension that translated beautifully to the screen.

In the same way, for me the sparky relationships between Chief Brody, Hooper and Quint gives Jaws some level of complexity; so how much did real life frustrations spill out onscreen? Popcorn in hand, I headed to The Lowry to find out!

The Shark is Broken, co-written with Joseph Nixon (Underdogs, Big Daddy vs Giant Haystacks) offers a behind-the-scenes look at the turbulent making of Jaws. In interviews, Ian Shaw has talked passionately about being inspired to write the play as a way of exploring and better understanding his father’s legacy; whilst much of the dialogue is imagined, nevertheless Shaw has blended his own knowledge and personal memories of his father with production notes, interviews and anecdotes from the filming to create a script.

The play is set entirely on the small fishing boat Orca and focuses on the off-screen dynamics between the three lead actors: Robert Shaw (playing Quint), already renowned on both stage and screen, and establishing his reputation a playwright; Roy Scheider (playing Chief Brodie), another experienced actor and the film’s leading man; and Richard Dreyfuss (playing Hooper), then an up and coming actor looking for the role that would make him a star. 

The title refers to the frequent mechanical failures of the film’s animatronic shark, famously nicknamed "Bruce." With Bruce often out of commission, filming was delayed for weeks, leaving the three very different personalities stranded together on the boat with little to do but drink, argue, play games and reflect. This unsurprisingly exacerbates the clash of personalities and professional rivalries, but also creates moments of unexpected camaraderie that carry over into the final production. As the three men navigate their frustrations, they reflect on larger themes of success, mortality, and personal legacy.

Ian Shaw (Johnny English Reborn, Sharpe, War Horse, Hiroshima) plays his father Robert with a real affection; he gives us a man who is gruff and unpolished, both deeply certain in himself yet wracked with self doubt, a passionate man capable of great humour and kindness, yet who could be sharp, cutting and dismissive. These more edgy qualities are softened in Ian Shaw’s portrayal – we see for the most part a jolly drunkard rather than an angry one - yet he doesn’t shy away from exploring the toll that years of battling alcoholism have taken, nor the self-awareness and regret they cause.

Shaw’s sharp wit and biting sarcasm are almost exclusively reserved for his younger co-star, Richard Dreyfuss, played by Ashley Margolis (Brassic, Moon Rock, The Doll’s House, Silent Witness). Dreyfuss, at the start of his career, was neurotic, eager to prove himself, and often rubbed Shaw the wrong way – mirroring the tension between their characters in the film. Margolis’ performance is excellent - full of nervous energy and with a clear desire to both emulate and win the approval of the older Robert.  I really enjoyed watching the way their relationship develops: what starts with disregard and irritation on Shaw’s side at the start of the play has, by the end, turned into something much more affectionate and paternal.

Stuck in the middle, Dan Fredenburgh (Donovan, The Evermoor Chronicles, Emma, A Christmas Carol) gives us a calm, considered intelligent Roy Scheider, content to play peacemaker and more at ease with himself and his place on life – although perhaps not without qualms of his own. It is always a challenge when depicting people who are famous but I have to call out Carole Hancock (War Horse, Thor, Captain America) for Hair, Wigs and Make Up – the resemblance to the original cast is exceptional and I must admit I found Fredenburgh’s resemblance to Scheider almost distractingly uncanny.

Together, they are an excellent cast; they banter with affection, scenes pivot emotionally with ease, and the final scene – the famous ‘Indianapolis’ monologue - is all the more moving for the way Margolis and Fredenburgh are captivated by the performance in front of them.
 

The staging has been very cleverly considered; it comprises the cross section of the Orca, with the cabin table as the focal point, providing space for the actors to move around whilst also creating that sense of the close, cramped conditions on the boat.  It does look very similar to the boat of the film and there were of course the requisite comments about needing more space and perhaps a bigger boat – which got one of the biggest laughs from the audience! 

For me, what is really brilliant about this play is that it doesn’t hang on being “about Jaws”; whilst yes there are various references to the film itself, to the potential of the up and coming Spielberg, and some in jokes about the future of the film industry “UFOs? Really? What next? Dinosaurs???”, it does not depend on these to be interesting – this play could be presented in a pub with little or no reference to sharks and still be as funny, moving and powerful.

Away from the glitz and glamour of Hollywood, this is a play about three very different men at very different stages in their lives, and how by sharing their experiences, they create a unique friendship. I wasn’t alone in being the only person intrigued by what this play had to offer: the audience was absolutely packed with young and old who clearly loved the production, indeed it received a well deserved standing ovation at the end.  The shark might be broken, but this is a play that works on every level and I absolutely recommend getting tickets whilst you can!

WE SCORE THE SHARK IS BROKEN...




WATCH OUR "IN CONVERSATION WITH IAN SHAW" VIDEO