Tag: theatre

Reviewed by Jo-Anne Bishop

(Pictured: Jackson Balint as Richard Dreyfuss, Andrew Dodd as Roy Scheider, and Josh Cottrell as Robert Shaw. )

You don’t need a massive stage, a mechanical shark, or a Hollywood budget to make something memorable. Theatre Aezir proves that with The Shark is Broken, a smart, funny, and well-acted production now playing in the lower-level theatre at First Baptist Church in London, Ontario.

Written by Ian Shaw (actor Robert Shaw’s son) and Joseph Nixon, the play takes us behind the scenes of the famously troubled 1974 shoot of the Steven Spielberg film, Jaws. The setting: the Orca, floating off Martha’s Vineyard, where filming delays have left actors Robert Shaw, Richard Dreyfuss, and Roy Scheider stuck together with too much time on their hands and nowhere to go. As it turns out, that’s a perfect recipe for conflict, comedy, and the occasional moment of honesty.

The set does exactly what it should: half a boat, fully believable. It lets the audience look directly into the action and never tries to be more complicated than necessary. The props are right; the details are right—it all works. Add in clean, effective lighting and sound to move us through time, and the technical side of the show stays solid without ever stealing focus.

(Pictured: The Orca)

Director Dylan Christopher Trahan keeps things tight and lets the script and actors do the heavy lifting. The show takes a little time to find its groove—call it getting its sea legs—but once it does, it cruises along nicely.

But make no mistake, this is an actor’s show.

(Pictured: Jackson Balint as Richard Dreyfuss.)

Jackson R.R. Balint leans fully into Richard Dreyfuss’ jittery, fast-talking energy, bringing just the right amount of edge without tipping into parody. Andrew Dodd’s Roy Scheider is the calm in the storm—measured, grounded, and quietly confident, with a physical resemblance that doesn’t hurt either.

(Pictured: Andrew Dodd as Roy Scheider.)

But the real catch of the day is Josh Cottrell as Robert Shaw.

From the moment he steps on stage, you’re hooked—line, sinker, and probably the whole tackle box. This isn’t just a good performance; it’s a fully lived-in portrayal. The voice, the stance, the presence, it’s all there. At times, it genuinely feels like Robert Shaw himself wandered in, decided to do a few scenes, and left the rest of the cast to keep up. It’s a commanding performance and the anchor that holds everything together.

(Pictured: Josh Cottrell as Robert Shaw.)

What’s especially impressive is that none of the actors fall into simple impressions. These feel like real people, not SNL sketches. Their chemistry is strong, their timing is sharp, and their relationships keep the audience invested throughout.

Costumes by Elizabeth Durand are another win. Accurate to the film and era without feeling like costume for costume’s sake. It’s one more detail that helps sell the world of the play.

Full disclosure: I’m a longtime Jaws fan and a big admirer of Steven Spielberg, so this show was always going to be in my wheelhouse. But even if you’ve never seen the film (though honestly, you should fix that), there’s plenty here to enjoy. At its core, this is a story about big personalities stuck in a small space, and that’s something anyone can relate to.

It starts a bit slow, but once it hooks you, it doesn’t let go. By the end, I was all in, and possibly the first on my feet for a standing ovation.

Theatre Aezir’s The Shark is Broken is funny, engaging, and impressively well done. No frills, no fuss, just strong performances and a story that lands. And this small show proves – you don’t need a bigger theatre.

IF YOU GO:

What: Theatre Aezir’s presentation of The Shark is Broken, by Ian Shaw & Joseph Nixon

Where: First Baptist Church, 568 Richmond St, London, Ontario

When: April 9-19^th, 2026

Tickets: $38 Tickets for The Shark is Broken

Reviewed by Jo-Anne Bishop.

Background and Experience in the Arts

My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.

I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23^rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.

Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.

So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.

What follows is a Q&A Interview with Elizabeth Durand, Artistic Director of the London professional theatre company, Theatre Aezir. The Beat Magazine spoke with Elizabeth about the company’s production of The Shark Is Broken, playing at First Baptist Church from April 9 to 19.

(Pictured: Elizabeth Durand, Artistic Director of Theatre Aezir.)

Q. What inspired Theatre Aezir to select The Shark Is Broken as its Spring production?

I am constantly on the hunt for fresh, intriguing scripts, and The Shark Is Broken immediately stood out. While everyone knows JAWS as the definitive summer blockbuster that launched Steven Spielberg’s career, this play offers something deeper: a profound, behind-the-scenes look at the volatile personalities and relationships that nearly sank the production. The turning point for me was hearing from a Gen Z colleague who saw the show in New York. Despite having never seen the original film, she was captivated by the storytelling and the caliber of the acting. That confirmed it for me—this isn’t just a play for fans of the movie; it’s a powerful human drama that resonates with everyone.

Q. Could you provide some background information about the play?

It’s a fascinating story: the play was co-written by Ian Shaw, who looks exactly like his father, Robert Shaw (the actor who played Quint in JAWS). Ian actually played his father in the first productions! It started small in Brighton back in 2019 and moved to the Edinburgh Fringe before the pandemic hit. Once theatre returned, it became a massive hit in London’s West End, eventually earning an Olivier nomination. We were lucky to have the North American premiere right here in Ontario at Toronto’s Royal Alexandra Theatre in 2022, followed by a smash-hit run on Broadway in 2023. Everywhere it goes, audiences and critics fall in love with it.

Q. Could you provide a brief plot synopsis of the play? Do any of the famous scenes from the film appear in the play?

So, picture this: it’s 1974, and the three stars of Jaws—Robert Shaw, Richard Dreyfuss, and Roy Scheider—are stuck on a tiny boat called the Orca.

What was supposed to be a quick 55-day shoot has turned into a 159-day nightmare. Why? Because the mechanical sharks keep breaking down the second they hit the salt water. So, while the crew is frantically trying to fix “Bruce” the shark, these three huge personalities are trapped together for days on end with nothing to do but drink, play cards, and drive each other crazy. It’s a hilarious and sometimes heavy look at the egos and the bonding that happened when the cameras weren’t rolling.

(Pictured: Josh Cottrell as Robert Shaw, Andrew Dodd as Roy Scheider, and Jackson Balint as Richard Dreyfuss.)

As for the movie itself, you definitely get some iconic moments! The big one is the “Indianapolis” monologue. Robert Shaw actually wrote a lot of that speech himself in real life, so the play shows the “behind-the-scenes” version of how that legendary scene came together. It’s a really cool “meta” moment for anyone who loves the film.

Q. One of your promo pieces for the play encourages people to rewatch (or watch for the first time) the original 1975 film, Jaws. Could you elaborate on that?

You definitely don’t need to see the movie to enjoy the play, but it certainly helps you appreciate why Robert Shaw is so incredibly grumpy in our version! Rewatching the 1975 classic reminds you of the legendary masterpiece the world eventually saw—while our show reminds you of the chaotic reality behind it. It’s the ultimate “Expectation vs. Reality” comparison: the film is the polished final product, but our play reveals a broken shark, a sinking boat, and three lead actors who were five minutes away from throwing each other overboard. Plus, for the eagle-eyed fans, the play is packed with “Easter Eggs” that make the experience even more rewarding.

(Pictured: Andrew Dodd as Roy Scheider.)

Q. The main characters (actors) depicted in the play are well known to most moviegoers. What challenges have you faced in bringing these folks to the stage?

In theatre, there’s a well-known maxim that casting is 80-85% of the show. I would never have programmed The Shark Is Broken without total confidence that we could find actors to inhabit these legendary roles. We are incredibly fortunate to have Josh Cottrell, one of London’s finest actors, who brings the perfect look and age to the role of Robert Shaw—he is truly magic on stage. For Roy Scheider, Andrew Dodd was the only actor I considered after his stellar performance in Misery. To complete the trio, our search for the high-energy Richard Dreyfuss led us to Jackson Balint from Windsor, who perfectly captures Dreyfuss’s iconic volatility. Under Dylan Trahan’s direction, these three have truly brought these Hollywood giants to life.

(Pictured: Josh Cottrell as Robert Shaw.)

Q. Obviously, the shark plays a major role in the success of Jaws. Does the shark appear in The Shark Is Broken?

The shark doesn’t make a physical appearance, but Bruce—as the mechanical shark was famously nicknamed—is a constant, looming presence! Ironically, Steven Spielberg named the shark after his lawyer, which tells you everything you need to know about his relationship with his lawyer! While you won’t see a fin on stage, you’ll certainly feel the weight of his mechanical failures and the havoc they wreaked on our three protagonists.

(Pictured: Jackson Balint as Richard Dreyfuss.)

Q. How would you describe the sets, props, and costumes of the play?

Our production design is a love letter to the Orca. Designer and builder John Beverley has created a stunning, “sliced-open” version of the famous vessel, allowing the audience to peek directly into the high-tension environment where the actors spent those 159 days. The set features a meticulous recreation of the film’s iconic banquette and table, surrounded by authentic nautical props and décor curated by Doug Cottrell. Framing the entire scene is a breathtaking 12’ x 20’ backdrop of the open ocean and sky. To complete immersion, the costumes are direct recreations of the actors’ film attire. However, getting that 1970s “Dreyfuss” bleach job on the denim jacket was a production in itself!

(Pictured: Scene Painter Adriel Kuepfer.)

Q. Tell me about your venue – First Baptist Church.

We love the versatility of our space at First Baptist! By converting the gym into an intimate black box theatre, we create a unique atmosphere that our audience finds incredibly welcoming. Thanks to a recent grant and our amazing donors, we’ve moved away from borrowed wooden risers and now own our own Staging Canadell risers. This means every seat in the house is a great one! Plus, the space is fully accessible via elevator, with restrooms conveniently located on both floors.

Q. What can audiences expect from The Shark Is Broken?

I think the biggest surprise for our audience is going to be the intimacy of it all. Because we’ve turned the gym into this tight, professional black box space, you aren’t just watching a play from a distance—you’re basically a stowaway on the Orca. You can expect to feel that salt-air tension and the claustrophobia of three massive egos trapped in a tiny cabin. It’s also much funnier than people expect. There’s this constant, witty friction between the three leads that keeps you laughing, but then it’ll suddenly pivot into a really raw, human moment about the price of fame or the fear of failure. Essentially, you can expect a ‘masterclass in character.’ It’s a fast-paced, 90-minute dive into the messy reality behind a masterpiece. You’ll walk out of the theater looking at that movie—and those three actors—in a completely different light. It’s a bit of a ‘behind-the-curtain’ thrill.

Q. Is there anything else you think readers should know about The Shark Is Broken?

If there’s one thing I want people to know, it’s that this show is a massive labor of love from a team that is operating at the top of its game.

We aren’t just ‘putting on a play’ in a gym; we’ve completely reimagined our space at First Baptist. Between the brand-new seating risers, which we just debuted (thanks to our incredible donors!), and the insane level of detail in John Beverley’s set, we are pushing Theatre Aezir to a whole new level.

I really want to highlight the atmosphere, too. Craig is doing some brilliant work with the lighting to capture that ‘stuck at sea’ feeling, and Doug has been a machine sourcing authentic nautical props—you can almost smell the salt air. But the real secret weapon is the soundscape. Avery is a master at building that immersive environment, and our director, Dylan, has had a hand in every single layer of it to make sure the audience feels every wave hitting the hull.

From Mike Semple keeping the technical gears turning to our cast—Josh, Andrew, and Jackson—finding the soul of these three icons, it’s been a total collaboration. At its heart, The Shark Is Broken is about people trying to create a masterpiece while everything around them is falling apart. I think anyone who’s ever tried to build something or lead a team is going to see themselves in this. It’s gritty, it’s hilarious, and it’s a great night of theatre for London. We can’t wait to welcome you aboard!

Q. Tell me about Theatre Aezir, its origins, mandate, and future plans.

Theatre Aezir really started from a simple, stubborn idea: that London deserved a space for professional-grade, provocative theatre that doesn’t just play it safe. We wanted to create ‘Theatre for the 21st Century’—shows that are lean, mean, and intellectually curious. Our artistic aesthetic has always been about the actor and the text. We strip away the fluff to focus on high-stakes stories that stay with you long after you leave your seat. We want to challenge our audience, not just entertain them.

As a registered charity, our mandate includes providing work and educational opportunities for theatre practitioners and actors, and we strive to build community and deepen the city’s cultural life.

As for our origins, we’re a theatre company without a theatre. Although rather nomadic, First Baptist has proved to be a great venue, as this is our third production in this space.  We’ve been proving that you don’t need a massive proscenium arch to create fantastic drama.

Looking at the future? It’s all about transformation. Thanks to some incredible support from our donors and the community, we’ve been able to invest in professional black box equipment—like our brand-new seating risers—that allows us to turn any space into a high-end theatre. We’re progressing toward more immersive, technically ambitious work (like the ‘sliced’ Orca you’ll see in The Shark Is Broken).  In the fall, we’ll move again for Bluebirds, which we will produce in the RCR Museum. Our goal is to keep growing as a hub for local talent and a destination for theatergoers who want something a bit more ‘edge-of-your-seat.’ We’re just getting started.

All Photos by Ryan Memarazdeh.

CAST
Richard Dreyfuss	Jackson Balint
Roy Scheider	Andrew Dodd
Robert Shaw	Josh Cottrell
Stage Director	Dylan Trahan
Stage Manager	Anna Whitehead
Technical Artists
Technical Director	Mike Semple
Producer	Elizabeth Durand
Costume designer	Elizabeth Durand
Sound designer	Avery Brown
Set Designer/Builder	John Beverley
Lighting Designer	Craig Blackley
Sound Operator	Jessica Norrie
ASM	Jill Canterbury
Props Master	Doug Cottrell
Photographer	Ryan Memarzadeh
Volunteer Coordinator/House Manager	Catherine Mazhandu
Marketing/Graphics	Kaitlyn Bell
Fight Director	Nick Van Burek
Scene Painters	Miranda Hews, Adriel Kuepfer
Prosthetics	Anthony Veilleux

IF YOU GO:

What: Theatre Aezir presents The Shark Is Broken.

When: April 9 to April 19, 2026.

Where: First Baptist Church, 568 Richmond Street, London, ON.

Tickets: For more information and tickets, visit http://www.theatreaezir.com

Follow Theatre Aezir on Facebook and Instagram.

Q&A Interview conducted by Richard Young, The Beat Magazine’s Publisher & Content Manager.