Theatre Review | The Shark is Broken

The Shark is Broken

By Ian Shaw and Joseph Nixon

Directed by Luke Joslin

Main cast: Anthony Gooley, Robin Goldsworthy, Tom Stokes

Photo credit David Hooley

The Foundry at Star until October 11

Reviewed by Ron Lee, CSP

What if you attend a theatre production and expect a massive stage effect that doesn’t materialise? What if you’re anticipating the equivalent of the helicopter in Miss Saigon and there is none? I was expecting a reimagining of a Samuel Beckett play. Besides, how would they put a giant shark on that stage?

The Shark is Broken has opened at The Foundry at Sydney's Star. It's set on the Orca boat location during the making of the 1975 film, Jaws. Spielberg didn’t want it shot in a pool so it was filmed on the ocean. Everyone is waiting for Bruce the mechanical shark to be ready but there are ongoing technical issues and pressure is mounting.

What do actors do at sea while they're waiting for scenes to be set up, waiting for perfect weather for a shot and generally waiting around with nowhere else to go? They play cards, they drink, one snorts, they talk and when there are three very different personalities, they argue and their egos take over. Yes, surprisingly, some actors do have large egos. 

For those of you who are familiar with the film, one of the three characters is played by Robert Shaw, an experienced English acTOR who possesses the superior attitude of an older thespian who has extensively performed Shakespeare and is working with Americans in this movie. Anthony Gooley excels, and the closing monologue with the tears, the emotion and the method is special.

Then there’s Roy Scheider who generously shares his broad general knowledge. Tom Stokes is the perfect neutral character who stands between the two extremes and often serves as referee.

Richard Dreyfuss, played by Robin Goldsworthy, is a younger, small Jewish actor who has the insecurities of Woody Allen and the voice of Joe Pesci. He wants to do Shakespeare and Pinter sounding like that. It reminded me of Tony Curtis’ often quoted line, “Yawnda lies da cassel of my fadda”, which the actor asserted he never said.

The set design by James Browne is at the same time compact and expansive and the stage manager calls the show from the top of the scaffolding on stage left. It’s like prompt corner in the sky and can be seen by the audience. The sea is shown on a series of LED screens and at times there is the illusion of rocking.

If you sit at the front you will be sprayed with mist and feel the wind from the large fans during the storm scene. I was in Row AAA, six inches from the stage. It wasn’t exactly Maid of the Mist at Niagara Falls but I did get a bit wet.

The show is well written, especially the barbs. I thoroughly enjoyed it, and those of you who have spent time on film sets will appreciate it even more. There aren’t many in jokes and the humour is entirely accessible to everyone. It’s a fun night at the theatre.