Skip to main content

REVIEW: The Shark Is Broken at Mirvish

/By / Oct 3, 2022

“If you loved the movie, you’ll probably like the show.”

The above encapsulates my thoughts on both Mirvish openings this week: the damp and dance-y Singin’ in the Rain and, more recently, The Shark Is Broken at the Royal Alex. The latter is an amusing look behind the scenes of Jaws, set on a claustrophobic boat in the middle of the ocean while Steven Spielberg ostensibly wrangles Bruce the mechanical shark offstage. 

If you’re a Jaws aficionado, this show’s one for you. If you’re not, it’s a fine play, though a solid chunk of the laughs are predicated on needing bigger boats.

Roy Scheider, Richard Dreyfuss, and Robert Shaw, actors at different stages in their career and of varying degrees of life experience, star in Jaws, which, wink-wink-nudge-nudge, is sure to be a commercial flop — or so they think. As production stalls due to issues with the animatronic shark, the three bicker and bond, becoming closer and revealing their traumas a little at a time. It’s a story of male friendship, and it’s often quite touching, particularly in moments between beleaguered Brit Shaw and youngster Dreyfuss.

The Shark Is Broken, written by Ian Shaw and Joseph Nixon, falters for me as a play more than it does a production. Demetri Goritsas as Scheider, Liam Murray Scott as Dreyfuss, and Shaw as Shaw (his dad!) often have a lovely chemistry, Nina Dunn’s video design ably suggests a wily sea, and Adam Cork’s sound and music incorporate a suitable number of “duuuuun dun”s into the production’s aural soundscape. Goritsas, Scott, and Shaw each make thoughtful acting choices, and never do their characters feel like caricatures.

But Scheider is dealt a short hand: he’s often a bystander to the action rather than a participant in it. Dramaturgically, Scheider’s a bit of a third wheel, and so Dreyfuss and Shaw are in turn tasked with carrying much of the action — of which there isn’t a lot. The Shark Is Broken is a wordy and witty play, rather than an action-packed one, and the imbalance between the three roles is at its most apparent in moments immediately following Dreyfuss/Shaw spats.

In addition to being broken, the shark is also rather lengthy — ninety minutes sans intermission. The play feels like it would be more comfortable at the one-hour mark (and that makes sense, as it was an hour-long Fringe show in the UK before making the journey across the pond). Some of the longer sequences are fantastic — Dunn’s video design makes it feel as if the boat’s really rocking back and forth during a storm, and moments of montage are lovely. But it feels like there’s room in the text for further trims.

Look — if you’re a Jaws superfan (and judging by opening night, there’s a lot of you!), you’ll probably appreciate this show. It’s a neat look behind the curtain of what launched Spielberg’s career, and the connection between the generations Shaw is sentimental and fun. But if you’re like me — you can hum the theme, you’ve seen some clips, you vaguely recall seeing the film on a flight — this might be one to skip.

And no, there’s no shark.

The Shark Is Broken runs through November 6. Tickets are available here.

Aisling Murphy

Aisling Murphy

Aisling is Intermission's senior editor and an award-winning arts journalist with bylines including the Toronto Star, NEXT Magazine, CTV News Toronto, and Maclean's. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June.



Leave a Comment

Your email address will not be published. Required fields are marked *

Production photo of The Caged Bird Sings at the Aga Khan Museum. iPhoto caption: Photo by Zeeshan Safdar.

REVIEW: With the help of a daring set, The Caged Bird Sings brings Rumi into the present day

Literal and metaphorical cages abound in this radical adaptation of Rumi’s Masnavi, produced by Modern Times Stage Company and presented in the Aga Khan Museum’s courtyard.

By Liam Donovan
iPhoto caption: Photo by Dahlia Katz.

REVIEW: Age Is a Feeling aches with tenderness and love

Age Is a Feeling is a warm hug for whoever might need it.

By Aisling Murphy
Production shots of the Stratford Festival shows reviewed below: Hedda Gabler, Twelfth Night, and Romeo and Juliet. iPhoto caption: Production shots by David Hou.

REVIEW: Straightforward concepts, stripped-down sets, and strong performances define Stratford’s approach to the canon this year

Throughout Stratford’s productions of Romeo and Juliet, Twelfth Night, and Hedda Gabler, moments of actorly playfulness jolt us into the here and now.

By Liam Donovan
stratford festival iPhoto caption: Production shots by David Hou.

REVIEW: Stratford boasts a flair for the dramatic in two terrific musicals and a spooky take on Shakespeare

All in, this was a very strong opening week for Stratford, but seriously, go see the musicals!

By Aisling Murphy
iPhoto caption: Photo by Dahlia Katz.

REVIEW: The Wrong Bashir is an ode to the hyphenated identities of Canada

Quibbles on the show's comedy aside, The Wrong Bashir will stay with me for a while as a successful ode to hyphenated identities across Canada. 

By Eleanor Yuneun Park
iPhoto caption: Photo of Come Home — The Legend of Daddy Hall by Cylla von Tiedemann.

REVIEW: The Legend of Daddy Hall feels like coming home

Home is not a place, it’s a feeling, and Come Home — The Legend of Daddy Hall feels like I came home. I was taken on a journey watching this play and came out honoured to be a witness to such an incredible story. I encourage you to do the same.

By Aisha Lesley Bentham