WEBLINKS
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 |  | Diatribe of Love reviewed by John Fenner
This was a one-off performance at The Swan of Gabriel Garcia Marquez's monodrama. Marquez is a prolific novelist, awarded the Nobel prize for literature in 1982, but Diatribe of Love was his only play, here translated by Gwynne Edwards.
It was brought to Stratford by Linda Marlowe Productions, with Ms Marlowe, herself, as the performer.
The character she played was a woman about to celebrate the 25th anniversary of her marriage - a marriage which, she said, "has given me everything except love".
She married, above herself, a man with whom she was intensely in love to the point that, in the face of parental opposition, she dived naked into the sea from the window of her locked bedroom to elope with him.
From that time onwards she has wanted for nothing except his lasting affection, and has endured the relationship despite his succession of mistresses, and one in particular - an actress.
Even their son has followed his father's example and would rather be elsewhere than at his mother's side, even on this anniversary.
| Μύ |  | The Swan Theatre
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Her diatribe revealed to us all of the experiences which had resulted in this having become a dead marriage long ago.
She had resolved that on this day of all days she would leave him, taking nothing of value and, therefore, owing him nothing.
The problem is, of course, that despite all the neglect and humiliation she still loved him and the performance ended in silence with her merely completing her dressing and make-up for the occasion ahead.
Although the performance only runs for an hour this, of course, represents something of a marathon for the solo performer.
It is made especially difficult by the setting, which was a South American country and, as one would expect from this author, the character displayed all the fire and passion that is typical of the Latin temperament.
It takes some doing for a British actor to play at this level with total success.
That Linda Marlowe came close to achieving it was greatly to her credit. Her mood changes throughout were handled cleverly (aided by subtle lighting variations) and, under the direction of Peter Searles, the variations in pace meant the piece held the attention at all times.
Ms Marlowe's application of full make-up - including lip liner - in front of a non-existent mirror towards the end of the play was masterful and her general facility with the text indicated repeated playings.
Such a pity that only about 50 people turned out to see it.
For more information on the Royal Shakespeare Company's visitors' season, follow the link on the left.
There is also the Week With Laughter which is not to be missed.
The spring season starts up again with with As You Like It on Thursday 20 March.
Just follow the links on the left to read about the great staged events there this spring.
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