Writers: Ian Shaw and Joseph Nixon
Director: Martha Geelan
The premise for this touring production might have come from the desk of Harold Pinter: Three egotistical actors sit talking and arguing in a boat waiting for a mechanical shark to be repaired. But these three actors carry the scent of Hollywood glamour as they are playing the lead roles in Steven Spielberg’s 1970’s blockbuster “Jaws”: Robert Shaw, Roy Scheider and Richard Dreyfuss. Additional spice is added to the production by the fact that grizzled veteran Roy Shaw is played by his own son, Ian, who bears a remarkable resemblance to his late dad. Shaw was an acoholic who died when his son was eight, and it was the discovery of his father’s drinking diary which prompted Ian to disinter and re-imagine this episode from his father’s history.
Despite the dark edges to the origins of this play, it is immensely entertaining. Much of the comedy derives from the contrasting characters of the three leads in the film. Dreyfuss is prickly, ambitious, self-centred and an “asshole”; Shaw constantly provokes him by calling him “boy”. Shaw himself is a witty, well-read, bellicose drunk, who can be the life and soul of the party, but may not remember much about it. If he is not drinking whisky, it is only because he has switched to rum. Scheider is a boring nerd who reads broadsheet newspapers and tries to act as peacemaker between his warring colleagues—sometimes succeeding.
They are cellmates on a boat moored off the coast of New England where “Jaws” is being filmed. Afflicted by weather, nausea, boredom and each other, as a few days fiming stretch into interminable weeks because of Bruce’s breakdowns. Bruce is the animatronic shark, who keeps breaking down because of his incompatibility with seawater, and because Spielberg insisted on filming at sea instead of in a studio. “Why didn’t they just use a real shark?” complains Dreyfuss. The three actors do not hide their frustration with this, or with one another.
This is very much a backstage perspective, with very little evidence of the filming process. Instead, we see a mixture of camaraderie, banter and backbiting, with the occasional heart-to-heart connection, as the three hostages to cinematic uncertainty try to make the best of the situation. Scheider by topping up his tan, Shaw by drinking himself into oblivion, and Dreyfuss by being an “asshole”, and irritating his elders and betters.
Some of the comedy gold in the script is the gift of hindsight. We have a historical perspective on Richard Nixon’s achievements as President, the Vietnam war, and even the career of Steven Spielberg. On a more mundane level, we hear Shaw asked if any of his kids might take up acting, to which his response is “Christ! I hope not!” Voiced by his son.
At 90 minutes, this is not a long play, But there are still scenes which might, in a well-edited movie, have ended up on the cutting room floor. Roy Scheider sunbathing and being harassed by an insect added little. The game of shove-halfpenny, orchestrated by Shaw, reinforced the competitiveness between the principals, but felt like padding.
The musical intermissions between scenes can be cheesy: tinkly harps or sweeping strings, but the lighting is absolutely perfect. Martin Henderson’s clever, claustrophobic set, and Nina Dunn’s video backdrop create a stunning Maine coastline. Ashley Margolis as Dreyfuss, and Dan Fredenburgh as Scheider, are eerily believable without seeming to mimic the originals. Ian Shaw, playing his own father, in all his pomp and vulnerability, carries an additional weight. He wears it well.
There are so many elements to enjoy, and the sell-out Salford audience gives the play a warm reception. Much of that is down to the poignancy of Ian Shaw playing his own late father, and making an emotional connection for himself, and for us, with an imperfect but fascinating human being. Not everyone will be familiar with the “USS Indianapolis” speech which is Robert Shaw’s burden to deliver, and hangs over him throughout the play. But as it closes the show, there can be no doubt of the emotional heft involved.
Runs until 8th February, then touring nationwide until May 2025.
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