Martha’s Vineyard, 1974: shooting on ‘Jaws’ has stalled. The film’s lead actors – Robert Shaw, Roy Scheider and Richard Dreyfuss – are stuck on a boat, at the mercy of foul weather and a faulty mechanical co-star. Awash with alcohol and ambition, three hammered sharks start to bare their teeth…Directed by Guy Masterson, THE SHARK IS BROKEN reveals the hilarious behind-the-scenes drama on one of Hollywood’s biggest blockbusters.
Jaws was action-packed. The Shark Is Broken is all talk, and a pattern emerges. Shaw and Dreyfuss clash. Scheider referees. It gets repetitive over the 95-minute run time. On the plus side, there are moments when the warring trio clicks and a sort of camaraderie shines through. Plus, the co-authors seasoned the script with laughs. Some humor comes with a knowing wink. There’s a comment about Richard Nixon, who resigned the presidency during the film shoot, being the most immoral president ever. There’s scoffing about the unseen Spielberg, whose next movie will be about, of all things, aliens. And Scheider vows he’ll never do a Jaws sequel. Never say never. Director Guy Masterson guides the evocative production and fine-tuned cast. In the least showy part, Donnell (Anything Goes, Chicago Med) lends ballast as the even-keeled Scheider. Brightman, a Tony nominee for School of Rock and Beetlejuice the Musical, proves to be a master of mimicry and cranks the nerdy, needy intensity to 11 as Dreyfuss. Ian Shaw is a dead ringer for his dad and is fun to watch simply for that reason. The play is, ultimately, a valentine to Robert Shaw. The filming of Quint’s chilling monologue about the atomic bomb in Jaws, a speech he was too drunk to get right in the first take, concludes the play on serious note. Occasionally, between “action” and “cut,” there’s smooth sailing. As it bites into movie history, The Shark Is Broken makes for a diversion worth sea-ing.
That extra-textural dramatic irony gnaws at The Shark Is Broken, which has less integrity as a play than as a thoroughly researched dress-up presentation for a history-of-film class. Ian Shaw, no great surprise, strongly resembles his father, and Brightman and Donnell have both been made up into ringers for Dreyfuss and Scheider. (Praise to Duncan Henderson’s costumes and to the wigs by Campbell Young Associates.) Everyone is meticulously re-creating those familiar voices — Brightman in particular zips right through Dreyfuss’s manic, cokie rants with gusto — and acting out his character’s well-known on-set habits. But although the actors are raring to go, the staging is cramped, with director Guy Masterson running out of ways to shuffle them around a boat that, yes, we know, is quite claustrophobic. (That’s surely the intent, but it makes the play seem smaller than it should.) More pressingly, the writing, intent on remaining lightly comic and knowing, keeps delivering what is familiar and unchallenging. Donnell, in a nod to Scheider’s love of tanning, strips down in an awkwardly staged moment to sunbathe, drawing titters from the audience, a gesture where fan service and beefcake collide.
| 2021 | West End |
West End |
| 2023 | Broadway |
Original Broadway Production Broadway |
| Year | Ceremony | Category | Nominee |
|---|---|---|---|
| 2024 | BroadwayWorld Awards | Best Featured Performer in a Play | Alex Brightman |
| 2024 | Outer Critics Circle Awards | Outstanding New Broadway Play | Joseph Nixon |
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