Adapted by Verity Laughton from the novel by Pip Williams.
A true marvel of an adaptation that explores feminism and the power of language superbly
Reviewed by Kat Pech
Roslyn Packer Theatre, Walsh Bay
Until 22nd of March, 2025
Tickets: https://www.sydneytheatre.com.au/whats-on/productions/2025/the-dictionary-of-lost-words-2025
Type: Adaptation, Historical Fiction, Literary & Linguistical
If you liked: Little Women, Suffs, Her Naked Skin
When I was a child my Aunty Esme, my grandparents’ best friend, would frequently join us for dinner and their discussions were always fascinating. One topic they always came back to? Words. There would be vehement discussions of origins and meanings and usage until one of the many dictionaries would be delightedly hauled off the shelf for detailed consultation. The Dictionary of Lost Words vividly reminded me of this childhood experience; how intense and infectious the love of words can be, and how important it is to be able to access knowledge about them.
The Dictionary of Lost Words was a beautifully captivating and touching production. At the centre of the story was the importance of words, including those that aren’t traditionally valued. It emphasised that all language should be recognised and treated equally, as should the people it stems from regardless of their gender or social class.
Adapted by Verity Laughton from the novel by Pip Williams, Lost Words follows Esme Nicoll (brilliantly portrayed by Shannen Alyce Quan) from 1886 at age four through to 1915. Esme’s life was intertwined with the compilation of the first edition of the Oxford English Dictionary. Both girl and dictionary grew alongside each other and it’s a fascinating doubling.
Quan is a brilliant performer, and she brilliantly handled the challenges of portraying a four year old child through to a grown woman. Their performance was subtle, precise, and beautifully nuanced, with Esme’s costume, courtesy of Ailsa Paterson’s design, and its deft changes to indicate time passing being an excellent enhancement to her performance.
Esme is a fascinating feminist character; her work is paramount, her belief in the necessity of equality absolute, and yet her approach, which is determined to the point of stubbornness was shown by Quan to be also quiet, gentle, and innocent, yet immovable. It was a fantastic reminder that feminism comes in so many different shades.
The rest of the cast was equally fabulous, with most members taking on multiple roles, each with their own accents and switches between genders, class, and circumstance. The whole cast deserves credit for their exemplary accents, many of which I imagine would have been difficult to master; they didn’t falter once.
The precision and range of all the actors was profound. Stand outs included Ksenja Logos as Ditte, Mabel, Meagan, and Alice, and Angela Nica Sullen as Tilda Taylor, Sarah and Arthur Malin, who both brought depth to each distinctly different character they portrayed. Kathryn Adams, primarily as Lizzie Lester but also Mrs Smythe and Maria, were also excellent, particularly in Adams’ portrayal of Mrs Smythe due to her vast difference.
The Dictionary of Lost Words was never anything less than engrossing
Sharp direction from Jessica Arthur gave standout moments throughout, such as the depiction of Esme’s labour. Moving and speaking in perfect synchronicity, with beautiful physicality and vocal tone, the women involved in this scene exuded a kind authority and confident femininity. Meanwhile, Esme lay on the desk while the audience were shown projected close ups of her mouth and eyes – it was a powerfully vulnerable moment. Without gratuitous gore or screaming it still felt raw, heart-wrenching, and beautiful.
Jonathan Oxlade’s truly exceptional staging and set design featured a projector screen at the back of the stage, controlled by the actors via the desk using notes and objects, showing the passage of time and movement between areas. At times, it echoed and foreshadowed the events and emotional transitions, with certain points moving audience members to tears. The actual set and props rarely changed, with the rows and rows of pigeonholes being constant, a reminder of the framework the world was operating in. The lighting by Trent Suidgeest and music by Max Lyandvert were also equally evocative, simple and never intrusive, but still heightening the emotional journey of the characters.
For a show that covered such a long period of time and which gently flowed through its story, building naturally to its climax, The Dictionary of Lost Words was never anything less than engrossing. It was in turns charming, humorous, exasperating, fascinating, tender, and tragic. The Suffragists and World War One were both treated wonderfully and respectfully, and throughout all the events the importance of words is highlighted, as is equality.
The Dictionary of Lost Words is a marvel. For those who love history, words, fascinating stories, complex characters, and just plain good theatre, it’s a must see that will stay with you long after the show is over.
Theatre Thought: Have we lost the importance of words with the introduction of technology?
CREATIVE TEAM:
Director Jessica Arthur
Set Designer Jonathon Oxlade
Costume Designer Ailsa Paterson
Lighting Designer Trent Suidgeest
Composer & Sound Designer Max Lyandvert
Assistant Director Shannon Rush
ACTORS:
Kathryn Adams as Lizzie Lester / Mrs Smythe / Maria
Arkia Ashraf as Gareth / Mr Crane
Ksenja Logos as Ditte / Mabel / Megan / Alice
Brian Meegan as Sir James Murray
Johnny Nasser as Harry Nicoll
Shannen Alyce Quan as Esme Nicoll
James Smith as Bill Taylor / Frederick Sweatman
Angela Nica Sullen as Tilda Taylor / Sarah / Arthur Manning
