VOICE CHOICE
Joy-filled. Uplifting. Heartwarming. A cause for celebration of community, family, love and belonging.
When a production makes me smile as I’m leaving the theatre, I want to let others know. When I see others leaving with that same grin from ear to ear, I know something is right.
Tell Tale Harbour does everything right on this opening Sunday afternoon performance. It’s joy-filled. It’s uplifting. It’s heartwarming. It becomes a cause for celebration.
Based on the 2013 Canadian film The Grand Seduction, Harbour is a fictional story set in a small, remote town of Tell Tale Harbour, Newfoundland. With the sudden closing of the fish plant, the townspeople begin searching for ways to keep Tell Tale going. An opportunity arises to secure a state-of-the-art frozen french fry factory in Tell Tale. That action would create many jobs.
There’s an obstacle in reaching that goal.
To secure the factory, Tell Tale must ensure access to a full-time doctor. The residents try to convince the young Dr. Chris (Kale Penny), an interim physician from England, to stay permanently. Their strategy involves embellishing the truth and exaggerating the positives of life on the East Coast.
Story narrator, Frank Cavanagh (Alan Doyle), breaks the fourth wall to address the audience directly. He shares insights about the unfolding events to encourage Dr. Chris to stay in town.
As the plot unfolds, we are introduced to Frank’s wife, Barbara (Alison Woolridge). Despite having to endure her husband’s antics at times, Barbara loves him unconditionally. Frank’s niece Kathleen (Melissa Mackenzie) runs a local store and is not one to tolerate nonsense from anyone, just like Barbara. Kathleen’s resort to humour stems from her backstory of a broken relationship. While Kathleen recognizes her Uncle Frank can sometimes meddle in situations he shouldn’t, her affection for him remains strong.
The town also features a unique and eccentric cast of supporting characters. Among them is the solitary Frenchman, Yvon (Laurie Murdoch), who initially appears crusty and curmudgeonly but has a soft spot for Vera (Susan Henley), who enjoys teasing him playfully. Gord (Stephen Guy-McGrath) is a consummate people pleaser. Additionally, Henry and Gus (Daniel Williston and Joel Cumber) form a mismatched duo, reminiscent of the classic “Mutt and Jeff” pairing. Jacob Hemphill’s Charles is the one who delivers the bad news about the town closing. Other residents include Louise (Karen Burthwright), the owner of the local pub, as well as Gina (Gabrielle Jones) and Marie (AP Bautista).
Set and Props Designer Michael Gianfrancesco, along with Associate Brandon Kleiman, expertly transports the audience to the quaint East Coast fictional town of Tell Tale Harbour, Newfoundland, on the Royal Alexandra stage. They create a nearly three-dimensional, large-scale model of the show’s outdoor setting. Set pieces and props are moved on and off the stage with remarkable ease, as company members push and pull items effortlessly. Davida Tkach’s lighting plays a crucial role, either boldly illuminating a scene or shrouding it in shadows to enhance the dramatic intensity. Josh Liebert’s sound design captures specific auditory elements. At one point, the gentle lapping of water against the shoreline can be heard. Meanwhile, Joyce Padua’s costumes effectively reflect the various heights, shapes, and sizes of clothing worn by working-class individuals.
Brian Hill directs with genuine humour and a true understanding of the lifestyle of East Coast Canadians. Robin Calvert’s choreography is sharp, agile, and visually striking, particularly in the opening numbers of Act 1 and Act 2: “Payday” and “You Never Looked So Good.” Bob Foster’s musical direction effectively captures the distinctive East Coast sound, reminiscent of last year’s tenants in Come from Away. I was truly moved by the performance of “The Greatest Place on Earth” in Act 1; every word sung by the cast resonated with authenticity. It was terrific.
Alan Doyle brings a warm and trustworthy presence to Frank. His closing number in Act One, where he sings “My Family” alongside the other cast members, is deeply poignant and brings a tear to my eye. Just minutes after that emotional moment, Doyle showcases his strong sense of comic timing, delivering a final word to close out Act One that prompts uproarious laughter from the audience. Supporting cast members also deliver authentic performances. Kale Penny and Melissa Mackenzie shine as Dr. Chris and Kathleen, who begin to develop feelings for each other despite Chris being engaged to someone back in London and Kathleen recovering from a painful breakup. Additionally, Laurie Murdoch and Susan Henley’s witty banter in Act Two’s “Just Imagine” highlights the unique charm of East Coast humour. The seamless introduction of hiding Yvon from Dr. Chris at the beginning of Act Two brings the audience back to the humorous antics with ease.
I’ve been sitting here and wondering if Tell Tale Harbour might be the next Come from Away in Toronto. Both shows have been well timed to create audience buzz and interest. Come from Away helped us get through the challenges of Covid. Harbour allows Canadians to steer themselves, even for a few hours, away from the mess of what’s going on down south of us.
Tell Tale Harbour becomes a smile-inducing performance. It reminds us of the importance of traditional values of family, community, belonging and love. It’s a much-needed show for our weary times right now.
Please go and see it.
Running time: approximately two hours with one interval/intermission.
Tell Tale Harbour runs to November 2, 2025, at Toronto’s Royal Alexandra Theatre, 260 King Street West. For tickets: mirvish.com or call 1-800-461-3333.
DAVID AND HANNAH MIRVISH, in co-production with Confederation Centre of the Arts, present
TELL TALE HARBOUR Musical Adaptation by Adam Brazier, Alan Doyle, Bob Foster, Edward Riche
Based on the original screenplay ‘The Grand Seduction‘ by Ken Scott
Directed by Brian Hill
Musical Direction: Bob Foster
Choreographer: Robin Calvert
Set and Props Designer: Michael Gianfrancesco
Costume Designer: Joyce Padua
Lighting Designer: Davida Tkach
Sound Designer: Josh Liebert
Stage Manager: Lani Martel
Performers: AP Bautista, Adam Brazier, Karen Burtinwright, Joel Cumber, Alan Doyle, Stephen Guy-McGrath, Jacob Hemphill, Susan Henley, Gabrielle Jones, Connor Lucas, Melissa Mackenzie, Jamie McRoberts, Laure Murdoch, Kale Penny, Kristen Pottle, Daniel Williston, Alison Woolridge
