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Theatre Orangeville’s double bill delivers two compelling solo performances: review

October 22, 2026   ·   0 Comments

By Joshua Drakes, Local Journalism Initiative Reporter

Theatre Orangeville tried something new, and it worked.

Theatre Orangeville has just kicked off its ‘Season of Discovery’ this fall, and has prepared a lineup of unique, diverse, Canadian productions.

The first up at Theatre Orangeville was a unique experience that the theatre has not tried before — a double bill. A double bill is a pair of one-act plays that run back-to-back in a slot that would fit a two-act play — productions that are well known in Orangeville.

But this time, artistic director Jennifer Stewart wanted to do something different, to show how Theatre Orangeville is thinking outside the box and looking for new ways to engage guests and platform Canadian talent.

Love is for Poor People and Or You Can Do Nothing are two one-act, one-actor productions crafted by Canadian playwright Stewart Lemoine. Both productions lean heavily into monologues, as they follow the main and only characters looking back on their lives, reflecting on choices, paths taken and people they’ve met.

Love is for Poor People follows a woman only known as ‘her’ as she dubiously recounts lovers and suitors that she’s met throughout her life, and the chaotic tornado her life has been. Being an enjoyer of finer tastes, the best money can buy, and particularly rich suitors, she recounts a particularly passionate romance while travelling abroad. Through multiple glasses of champagne, she recounts how it broke all her previous rules and tastes and has stayed with her throughout her life.

Emma Grabinsky brought a calm but fierce presence to the character on stage, making for an iconic performance that is guaranteed to leave an impact. The character is erratic, unpredictable and keeps you guessing about what could possibly come next, and Grabinsky latched on strongly to that aspect, while also being able to display a person behind that persona, one that might be lonely, longing for a connection that was not to be.

The story also required the sole actor on stage to be able to think on their feet, which Grabinsky did with comedic effect, stopping mid-monologue to say “bless you” to an audience member when they sneezed, like a friend would excuse another at a party.

The story could jump from fast-paced to slow, taking up the entire stage to just one microphone and a spotlight, and the audience was hooked through the whole thing. Excellent use of props, stage design and movement kept up this illusion that despite there only being one person on stage, the stage felt busy — densely populated, even.

For Or You Can Do Nothing, the similarities and differences between the two productions were on full display.

Unlike Love is for Poor People, which is a reflection on life through the lens of the main character and driven by their experiences, Or You Can Do Nothing is different, instead choosing to showcase a reflection of life not through the main character, but through their interactions with others and how these strangers perceive and interact with him.

Enter Owen Fyfe, a man with an unusually large home and an ability to recognize potential in people who may not see it in themselves. Fyfe isn’t necessarily a rich man; his large house is the product of an inheritance his mother received during their many travels in his youth.

What he does have in abundance is empathy, understanding, a skill for seeing potential. Throughout his story, he recounts meeting a collection of very different people with different skills, dreams and problems. He offers them a choice – do something about it and stay with him for a time, or do nothing.

As new characters continue to pour into the house, from a woman questioning her divorce, a young musician, a famous vocalist, and more, Fyfe not only learns about the people that stay with him, but he learns more about himself at the same time.

Actor Ron Pederson delivered a masterclass in his portrayal of Owen Fyfe. A longtime fan of Stewart Lemoine, Pederson dominated the stage from the first line to the last.

He brought a dynamic character to life, capturing unique vocal patterns, body language and facial expressions, which had audience members completely immersed. His welcoming and humorous disposition was disarming even for the audience, even when he was only talking to other characters on stage, which he did through Fyfe making impressions of the other characters.

His performance, like Grabinsky’s, did such a powerful job of breathing life into characters we’ve never seen or met; one could have assumed there were at least 4 people on stage during the play and forget this was a one-man show.

Once again, the set design was simple, practical, yet iconic, each item serving a purpose without causing clutter or becoming an obstacle. Pederson made excellent use of the stage, making every corner, every spot, come to life.

Putting both plays together, Theatre Orangeville took a risk that could’ve fallen flat. Two plays, a new format, one actor for each is a gamble that needs all pieces to deliver to have a successful night, and artistic director Jennifer Stewart made all the right moves. The double bill was a fun, captivating and memorable kickoff to another season of local theatre in Orangeville.

Love is For Poor People and Or You Can Do Nothing shows continue at Theatre Orangeville until Nov. 1. Tickets can be found online at theatreorangeville.ca/show/love-is-for-poor-people-or-you-can-do-nothing.

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