Review: THE SHARK IS BROKEN at Fulton Theatre

The Fulton Theatre has mounted a confident, engaging production of The Shark is Broken, running February 27 through March 22, 2026. Written by Ian Shaw and Joseph Nixon, the Olivier Award-nominated play pulls back the curtain on the filming of the 1975 classic Jaws, placing audiences on the deck of the Orca during the famously difficult summer shoot. With the mechanical shark “Bruce” refusing to cooperate, three actors find themselves drifting off the coast of Martha's Vineyard with little to do but wait, drink, bicker, and confront their own anxieties. Under the direction of Trey Compton, the Fulton’s production manages to capture both the comedy and the tension of this enforced downtime.

The performances are consistently strong, and the chemistry among the three leads gives the production much of its energy. Geoffrey Kent gives a layered portrayal of Robert Shaw, balancing the character’s cutting humor with the vulnerability that sits just beneath his bravado. His scenes swing easily between sharp comic beats and moments of real emotional weight. As Richard Dreyfuss, John Hays brings a restless, nervous energy that gradually evolves into a more centered presence; the growth feels organic and adds shape to the overall story. Meanwhile, Dan Fenaughty, playing Roy Scheider, anchors the trio with steady humor and a grounded practicality. His calm, observant delivery serves as an effective counterbalance to the more volatile personalities around him, and his timing keeps the play moving smoothly.

The production benefits greatly from strong design work. Scenic Designer William James Mohney creates a detailed, compact set that convincingly evokes the cramped interior of the Orca. The proximity of the space fosters a sense of shared confinement that mirrors the characters’ own frustrations. Enhancing this is Colin Riebel’s digital backdrop, which shifts subtly throughout the performance—rolling waves, shifting horizons, and jarring boat movement combine to create the impression that the entire audience is out on the water. Lighting Designer S.K. Watson and Sound Designer Tyler Horn contribute to this atmosphere with cues that are precise and well-integrated, while Costume Designer Eliza McCann’s work supports the period and characterizations without drawing undue attention. Props Designer Meg Valentine, Casting Associate Joey Abramowicz, Production Stage Manager Michael DiSciullo, and Executive Artistic Producer Marc Robin round out a thoughtful and well-coordinated creative effort.

A few elements are less successful. One digital storm sequence, which seems to show the Orca sinking, is confusing in intent and disrupts the otherwise clear storytelling. Another challenge arises when the script requires actors to leave the cabin and return with information; since they never fully exit the stage space, the illusion doesn’t quite work and can take the audience out of the moment.

Despite these minor issues, The Shark is Broken at the Fulton is, without question, an outstanding and hilariously enjoyable show. The strong acting, clear direction, and effective design create a lively, humorous, and occasionally touching look at the personalities behind a famously difficult film shoot. It’s a smart, entertaining night of theatre—full of sharp exchanges, memorable performances, and a healthy dose of behind-the-scenes charm. For more information about this and other shows at the Fulton Theatre, visit: https://thefulton.org/