Tense, funny, insightful, and terrifically entertaining, The Shark is Broken takes the audience behind the scenes on the fraught filming of cinema’s original US summer blockbuster, Jaws.

First seen in the UK in 2019, the West End run of The Shark is Broken was delayed until late 2021, with a Broadway season following in 2023. Timing for this Australian premiere tour benefits from interest sparked by the fascinating 2025 documentary Jaws @ 50 The Definitive Inside Story (Disney+).

The Shark is Broken places the audience as a fly on the wall (or, perhaps, as a seagull in flight) while filming of Jaws drags on while mechanical shark, nicknamed “Bruce,” is not working. Leading men Roy Scheider (Chief Brody in the film), Richard Dreyfuss (marine biologist Hooper), and Robert Shaw (shark hunter Quint) bicker, drink, bellyache, gamble, and laugh as they pass the  time getting on and off each other’s nerves.

Ian Shaw, son of Robert Shaw, penned the play along with co-playwright Joseph Nixon. Ian actually played Robert in the West End and Broadway seasons. Ian Shaw brings the insight of years of hearing stories about the filming and, impressively, does not go too easy on his father who is shown as a storied actor but also as a flagrant alcoholic. The three men are each unique characters, with Scheider the dry, serious one, and Dreyfuss the insecure young upstart.

Shaw and Nixon draw humour not just from the clashing personalities but also from the 20-20 hindsight of the present day audience. Laughs are drawn from doubts that Jaws will be a hit, the absurd prospect of sequels, and Spielberg’s upcoming focus on aliens. One of the biggest laughs follows the discussion about Richard Nixon, with Shaw expositing that America will never have a bigger buffoon as president.

A notable feature about this tour is that it is an all-new production, rather than the usual imported franchised productions that are often seen. Entering the theatre, a spectacular open set is on stage, with the familiar boat “Orca” surrounded by rigging and walkways and backed by a huge LCD screen displaying the mighty sea. Set designer James Browne has included myriad intricate details, creating a realistic and immersive experience.

Video designer Cameron Smith greatly enhances the spectacle with an ever undulating sea, dotted with other passing boats and able to change significantly in varying light and weather. Particularly impressive are sequences set under the full moon of night and during wild rain and electrical storms. Smith’s work is enhanced by the highly atmospheric lighting design of Jasmine Rizk.

Director Luke Joslin keeps energy and volume high, grasping audience attention and not letting go for the full 90 minute running time (no interval). There are carefully calibrated peaks and troughs in liveliness, and yet momentum and vitality never flag. Joslin has brought each of the men to vivid life with broad yet realistically grounded characterisations filled with all manner of personal details.

While the play is largely a heightened character study, the brief sequences of movie making are particularly thrilling. The action is aided by stage crew members doubling as film crew personnel. Director Steven Spielberg is just a disembodied voice but crew members bring on props and clap clapper boards, and the play’s stage manager remain in full sight throughout, positioned on scaffolding high overhead.

For the filmic sequences, composer Sean Peter contributes original music to replicate / pay homage to the iconic film score of John Williams.

In line with a comment about the lead casting of Jaws, casting for The Shark is Broken also avoids “name” actors to aid authenticity. Each of three actors in the play immerse themselves completely in their roles. Various combinations play out and each actor is rewarded with a featured solo moment.

Tom Stokes maintains a wily spark in his eye to bring interest to Scheider, who is chiefly a peacemaker and sharer of tidbits of industry news. Stokes displays his well-toned physique when Scheider strips down to black briefs to take advantage of a quiet moment to soak up some sun (this was the 1970s, before the days of “slip, slop, slap”).

Robin Goldsworthy captures the manic nervous energy of Dreyfuss, adopting a high pitched voice and giggle, somewhat reminiscent of cartoon character Porky Pig. Goldsworthy really shines when Dreyfuss comes close to a breakdown, indulging himself with scornful impersonations of his two co-stars.

Anthony Gooley brings wonderful presence to Shaw, a great man of the stage struggling to avoid UK taxes and provide for his nine (!!) children. Gooley amuses as he portrays Shaw’s enjoyment in winding up Dreyfuss. There is reference throughout the play to the writing of Quint’s famous “USS Indianapolis” speech and Gooley gives a powerful delivery of this speech at the play’s end.

Readily enjoyable with little background knowledge, The Shark is Broken will most likely be more appealing to those who already have interest in the scenario. But then again, everyone has seen Jaws, haven’t they?

The Shark is Broken plays at Athenaeum Theatre, Melbourne until 7 November 2026. For tickets, click here.

Photos: David Hooley