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A whole musical around cinema’s most famous two-note leitmotif? The Saloon Ensemble (formally stylized as The SaLoOn EnSeMbLe) did it around a decade ago when it first staged J.A.W.Z. the Musical—in 3D!, a theatrical parody of the classic shark movie Jaws. And just when you thought it was safe to go back in the water, J.A.W.Z. the Musical—in 3D! returns to the Alberta Rose Theatre to celebrate not only the musical’s 12th anniversary, but its namesake’s 50th anniversary too.
Saloon Ensemble leader Jason Wells wrote and co-directed J.A.W.Z. and composed its score. He was inspired by his mother, a standup comic with a signature act set to John Williams’ iconic score.
“She bowed a giant double bass and bowed the Jaws theme,” he tells WW. “She wrote lyrics to it, which brought the house down.” Wells couldn’t do his act alone; that was his mother’s gig. He needed a bigger boat—and an ensemble. Enter his band, The Saloon Ensemble.
The wacky and weird ensemble was born where else but Burning Man in 2005. There were not enough members of the Portland-based MarchFourth Marching Band present to perform a true march on the playa 20 years ago, so Wells assembled the troupe they had, turning MarchFourth’s songs into swing numbers. The band has since performed at the Oregon Country Fair, Oregon City’s Haystack Festival, various McMenamins venues for the chain’s seasonal events like Oktoberfest and St. Patrick’s Day, and the Alberta Rose Theatre for New Year’s Eve shows.
“The Saloon Ensemble had this reputation of being this raunchy, fun time band,” Wells says. “I don’t think anyone imagined we were going to actually create a full-blown show with a large cast, acting and big composed Broadway numbers.”
It has been 10 years since Wells last donned his homemade shark costume, but he and his crew are ready to get back in the water. Wells says 11 of the 13 original cast members have returned for this rendition, as did co-director Noah Vail, whose theater background was essential to much of the show’s choreography and physical humor. The entirely self-produced show includes thrifted costumes and homemade props. New songs and multiple endings, chosen by audience vote, were also added. Some of the larger elements, a giant metal shark, shark cage, and curtain with teeth were constructed at Manifestation PDX Art (ware)House by local welder, sculptor and MarchFourth member Richard Cawley.
Just as sharks have evolved for centuries, Wells also felt that J.A.W.Z. the Musical—in 3D! needed some survival-based adjustments (which Wells hints are unrelated to WW’s first review a decade ago). The shark’s original mannerisms borrowed from Woody Allen were erased after Dylan Farrow’s abuse allegations against the director resurfaced. A character modeled after Celine Dion was changed out of respect for the diva’s health struggles.
“We had to make changes to the script because life on earth has changed. Vibrations have changed. Consciousness has changed,” Wells says. “We didn’t abandon any of the old music. It’s all in there. The show was built around all the songs.”
The show is self-professedly rated R, and entry to Alberta Rose Theatre is restricted to 18 and over unless accompanied by a guardian. The gore is more campy than gruesome—the representation of blood comes by way of red yarn rather than more realistic liquid blood or paint, although there is cussing, drinking and drug use. While the original run took place at the Clinton Street Theater, it moved to the Alberta Rose for its 2014–15 run where it returned after 10 years of hibernation. This run will feature the Alberta Rose Theatre’s recently overhauled interior, including new seats. Wells credits the theater as a key player in the show’s success.
“I just want to say how much I appreciate the Alberta Rose Theatre, which is a true survivor through the COVID era,” he says. ”They kept themselves afloat and have been very supportive of the arts and supportive of J.A.W.Z. the Musical. It’s a real gem.”
Upon attending opening night Friday, Sept. 19, with the theater three-quarters filled, I felt confused, as many in the audience seemed to be as well. I saw some first Tinder dates in the flesh openly wondering what was in store for them. When Act 1 concluded, I felt like I had just exited a band nerd’s deranged wet dream. Why are all the female characters so horny? Between a squirting cougar shark and threesome insinuations, I wasn’t quite sure if the show landed.
But the second act—bolstered by a strong performance in the first act of the Jaws theme song and a tune set to the iconic line “We’re gonna need a bigger boat”—reeled me back in.
The Saloon Ensemble’s cohesion completed the show on a good foot with well-executed chops. I ended up having a better evening than the gentleman next to me, whose Tinder date took off at intermission with his jacket. The show wasn’t jaw-dropping, but it was rousing.
The Saloon Ensemble’s next parody shows are the seasonal Nitemare B4 Xmas (spoofing The Nightmare Before Christmas in October) and the Burning Man musical All of Burning Man in a Day.
“I hope that this show, and many of the shows that are up and coming, inspire Portland at large to keep growing again after such a demise in 2020,” Wells says.
SEE IT: J.A.W.Z. the Musical—in 3D! at the Alberta Rose Theatre, 3000 NE Alberta St., albertarosetheatre.com. 8 pm Saturday and Sunday, Sept. 27 and 28. $42–$58.75. 18+ unless accompanied by a guardian.
