Broadway Legend Joined: 12/29/13
I mean, if you have a reputation of being an a*hole and your behaviors were corroborated by multiple sources (including his co-star's diaries), then you can't be surprised when Karma gets your number and gives you a call. I do question that if Shaw reached out, it might have been possible that Dreyfuss could've pulled a cease-and-desist for use of his likeness.
I also wonder that if Dreyfuss had come out earlier saying anything about the play, it would've had the Streisand effect and driven more people to see the show. In either case, this play has been circulating around for years and I can't imagine that he didn't have some awareness about what it might've contained.
Sidebar: Due to his alleged difficulty (although some attributed it to an injury), Dreyfuss left the West End run of THE PRODUCERS and is the reason why Nathan Lane has an Olivier Award on his shelf.
Broadway Legend Joined: 1/21/20
Licensing rights acquired by Broadway Licensing/Dramatists Play Services
KevinKlawitter said: "Licensing rights acquired by Broadway Licensing/Dramatists Play Services "
Is anyone interested in staging the play if Ian Shaw isn't starring in it? Getting to watch Shaw play his father is such a huge factor in why the play connected with audiences, to the extent it did.
Premiering via BroadwayHD on October 16th:
“The playwright portrays his own father in the production, which was filmed during its recent tour of the UK and Ireland at the Lighthouse in Poole on April 30 and May 1, 2025, starring Ian Shaw, Ashley Margolis, and Dan Fredenburgh.“
GiantsInTheSky2 said: "Premiering via BroadwayHD on October 16th:
“The playwright portrays his own father in the production, which was filmed during its recent tour of the UK and Ireland at the Lighthouse in Poole on April 30 and May 1, 2025, starring Ian Shaw, Ashley Margolis, and Dan Fredenburgh.“"
Thanks for this. I loved this on Broadway, and saw it three times all up. I’ve never seen Jaws but love “inside looks” at anything even I don’t know the cultural property at all. But I think it was too sentimental to do well on Broadway with wider audiences. It would be great as a Netflix movie.
My only problem was Alex Brightman who isn’t really transformative in anything he does (that I’ve seen anyway) and so Dreyfuss was pretty unrecognizable which was a shame. Colin Donnell was brilliant, as was Shaw. Great design, direction, and the perfect run time.
I’m excited to see the Dreyfuss actor in this filmed version and get a look at what might be done with the role.
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