This weekend marks Lawrence Sterne’s 300th birthday, and to celebrate the Laurence Sterne Trust’s Good Humour Club put on The Life and Opinions of Tristram Shandy, Gentleman – adapted and performed by Stephen Oxley. It was a consummate performance with Oxley taking on many roles – Shandy, Uncle Toby, father, mother, maid and many more – to great comedic effect. It’s a testament to Oxley’s performance that he managed to string Sterne’s rambling novel into a coherent and easy to follow production.
The show brought home to me the value of the performance of written works – especially when they were written in a different time or culture with the consequent obstacles to appreciating the meanings and nuances of the text on the page. This seems obvious in regards to plays, yet many people seem to have been put off Shakespeare for good by turgid lessons at school, and consequently miss out on the pleasures of a good Shakespeare production on stage.
However, hearing the words spoken aloud isn’t necessarily a beneficial experience. I’ve sat through a painfully dull and wordy Twelfth Night, but thankfully wasn’t put off from seeing the outstanding Globe production – a performance that was truly hilarious and needed no ‘education’ in the play or Shakespeare to enjoy. A director and performers who are passionate and educated about their material make even ‘challenging’ work surprisingly accessible and are invaluable for suggesting new interpretations and ideas to both knowledgeable audiences and newcomers.
While Gatz was quite a marathon (an eight-hour word-for-word rendering of The Great Gatsby onstage), lacking the leisurely pleasure of reading The Great Gatsby at your own pace and leaving me slightly sketchy on the finer points of the plot, Scott Shepherd’s obvious devotion to the book and his animated performance left me with a much greater appreciation of the language than I could have hoped to glean from simply reading the book myself.
The Tristram Shandy performance was equally revelatory. Although I enjoyed reading the novel it was perhaps more down to my love of the eighteenth century than a genuine literary appreciation of the book and I did find it a bit hard going. Stephen Oxley’s performance brought to life the humour in the novel and emphasised Sterne’s mastery of digression. With today marking the tercentenary of the birth of Laurence Sterne, Oxley and The Laurence Sterne Trust have provided me with a timely inspiration to reread Tristram Shandy, and I’m sure that having seen the performance the book will now make very different reading.