In the enchanting world of literature, some words hold more power than others. Esme Nicoll, a character in Pip Williams' debut novel, "The Dictionary of Lost Words," reminds us of this profound truth. As we delve into the pages of this captivating story, we are transported to the heart of the creation of the Oxford English Dictionary, a monumental undertaking spanning from 1886 to its completion in 1928. Released in March 2020, Williams' book rapidly gained global recognition, becoming a multi-award-winning international bestseller and conquering the literary landscape in over 30 territories. Now, a television series is in the works, and a theater adaptation has graced the Sydney Opera House.
The Scriptorium: Where Words Come to Life
The story unfolds in the humble setting of the Scriptorium, a small shed nestled in an Oxford backyard. This unassuming place is where young Esme, portrayed by Tilda Cobham-Hervey, spends her childhood. Her father, Harry (Brett Archer), is a part of a team of lexicographers, diligently working to compile and define every word in the English language. Overseeing this endeavor is Sir James Murray (Chris Pitman), whose unwavering enthusiasm persists even as the dictionary inches towards being "a decade overdue."
Notably, the dictionary's pages exclude words that haven't been written down or those considered vulgar. These "discarded" words take root in Esme's imagination during her formative years and continue to shape her as she grows into adulthood. She begins collecting slips of paper scattered on the Scriptorium floor, a repository she affectionately names "The Dictionary of Lost Words."
As Esme matures, she begins to discern a gendered bias in the treatment of words. Words commonly used by women are often dismissed or considered less substantial. This realization sparks her mission to uncover overlooked words in everyday language. She frequents local markets, where she encounters words absent from the dictionary. Friends and strangers alike eagerly contribute to her project, offering words like "latch-keyed," "c*nt," "quim," "morbs," "bumf," "dollymop," "bostin mairt," and "knackered." Through her journey, Esme also gains a newfound appreciation for the versatility of the word "f*ck."
"They were mostly women, old and young, and few of them could read the words they'd given me once I wrote them down," Esme reflects. "But they loved to share them. Over the years, I'd managed to collect more than a hundred. Some words, I discovered, were already in the pigeonholes, but so many were not."
The Play's Adaptation: Challenges and Opportunities
Playwright Verity Laughton's adaptation remains faithful to the novel, particularly in the first act, which adheres closely to the book's expansive timeline. However, the challenge lies in portraying Esme, a character whose actions are often secretive, even to herself. While the play unfolds during a period of significant societal upheaval, it's Esme's internal journey that takes center stage, deviating from the conventional protagonist-driven narrative.
Despite the adaptation's loyalty to Esme's character, it misses opportunities to further develop other characters. For example, Tilda Taylor (Angela Mahlatjie), a character who plays a prominent role in the Women's Social and Political Union, brings a sense of wit, courage, and sensuality to the novel but remains underutilized in the play.
Esme's journey towards suffrage and self-discovery is guided by the people in her life, from family and friends to colleagues at the Scriptorium. They all rally behind her in support of the suffrage movement, though Lizzie Lester (Rachel Burke), Murray's maid, expresses some reservations about challenging the status quo.
Rachel Burke delivers Lizzie's lines with a delicate, dignified touch, highlighting the often-overlooked struggles of women in that era. Nevertheless, Lizzie, like other characters, is somewhat flattened, serving primarily to support Esme's personal evolution.
Tilda Cobham-Hervey brings poise and charisma to the role of Esme, even as she navigates dense dialogue. However, Esme's engagement with the suffrage movement fails to entirely captivate the audience. As Laughton notes, Esme remains cautious, contained, and wary in her activism, maintaining an aura of innocence and moral commitment throughout.
Intriguingly, the play shines when the characters grapple with the inexpressible – moments of war, violence, grief, and oppression. Under the expert direction of Jessica Arthur, the play's stagecraft powerfully conveys the ineffable through lighting (Trent Suidgeest), music (Max Lyandvert), and movement (Ruth Fallon). Jonathon Oxlade's set design, featuring hundreds of small pigeonholes and a screen projecting the work on the sorting table, brilliantly brings the textual elements of the novel to life.
Costume designer Ailsa Paterson's attention to detail in outfitting each character adds depth to their personalities, enhancing Cobham-Hervey's portrayal of Esme throughout her life's various stages, marked by curiosity, grief, introspection, and an enduring love of words.
Conclusion
"The Dictionary of Lost Words" is a remarkable journey through the world of words, where Esme Nicoll's discovery of the power of language and women's struggle for suffrage takes center stage. While the play adaptation faces challenges in translating Esme's internal journey to the stage, it succeeds in capturing the moments of inexpressible human experiences through exceptional stagecraft.
This beautifully crafted play invites us to reflect on the enduring importance of words, particularly those marginalized and discarded, and the indomitable spirit of women who fought for their place in history. As the characters grapple with the complexity of language and societal change, "The Dictionary of Lost Words" remains a poignant exploration of the power of words and the resilience of women throughout history.
Don't miss the opportunity to witness this compelling theatrical experience, which is currently running at Drama Theatre, Sydney Opera House, until December 16, and will be at Arts Centre Melbourne's Playhouse from February 17 to March 10.
