The Dictionary of Lost Words

In 1898, it was the norm for your sex and scholarship to define your destiny, but for Esme Nicoll, aged four, this was the beginning of her love affair with words. Before she could pronounce it, her dream was to be a linguist, a wordsmith, a person who compiled or edited dictionaries; a Lexicographer.

Having endured many stage adaptations of brilliant books that I thought were robbed of their colour, passion, authenticity and message, I approached the adaptation of local author Pip Williams’ best-selling novel The Dictionary of Lost Words to the stage by Verity Laughton with faltering optimism. I had loved, loved, loved the glorious book so much that I queued up for its sequel, The Bookbinder of Jericho, and was again captured by the detail and palpable frustration of what it was to be an intelligent woman, this time, in the World War one era of the early 1900’s.

Laughton’s work in bringing this to the stage masterfully intertwines events, characters and key issues creatively and joyfully. Perhaps, some would say it is a little ‘wordy’ at three hours, including an interval, but such is the calibre of this play, that the Adelaide season is already fully booked. Take note, Sydney.

Tilda Cobham-Hervey is a revelation as Esme Nicoll. She is winsome as a four year old, playful and mischievous as a six year old and passionate, but laments being a female, already ‘invisible’, at 12. She brings a waif-like vulnerability that blossoms into ramrod steel strength when she deals with both personal grief and the divisive, often violent suffragette cause of the turn of the 19^th century.

Cobham-Hervey, make-up free, shows impeccable timing, a deep understanding of Victorian times and the lives of women, heartbreakingly vulnerable and wonderfully witty in the company of bawdy women like Mabel, who is ostensibly a woodcarver, willing and able to tutor Esme in using intimate female parts for rollicking curses. Thus begins Esme’s passion for words that need ‘rescuing’, notably the language of workers, and women in particularly. ‘Dollymop’ is my new favourite, though the word describing an amateur, often part-time, female prostitute in 19th-century London may have its limitations in polite company. Ksenja Logos, playing four vastly different roles, including Mabel, delivers a masterclass in physical nuance and acting. She is a perfect foil for Cobham-Hervey’s innocent Esme, with her cut-glass accent and wide-eyed requests to clarify the meaning and context of words that would make a sea dog blush. As Esme’s life-long friend, carer and guide, Rachel Burke delivers a gentle, humble, unfailingly loyal Lizzie, a ‘bondmaid’; indentured for life but proud that it is her word, a word that she owns and dignifies.

There are only excellent performances in this show, but a standout is the set. Designer Jonathon Oxlade has created a ‘character’ in its own right, a multi-purpose, flexibly used, two level set that incorporates Lighting Designer, Trent Suidgeest’s inspired lighting and features clever camera and slide work. The set more than serves the story and actors; it tells a tale and has presence in its own right. Costume Designer, Ailsa Paterson has dared to feature, beautifully, the stage’s superstitious green for Cobham-Hervey, plus a series of fabulous Victorian men and women’s outfits. The suits, hats and coats are impeccably tailored and wigs are elegantly subtle and period appropriate. Cobham-Hervey paid tribute to Accent Coach, Jennifer Innes who has supported the ensemble with consistent, character accurate accents. This assists Cobham-Hervey, even as a four year old crawling under desks and tables to be beautifully and clearly spoken, and of course, Sound Designer Max Lyandvert’s work is beautifully balanced and unobtrusive.

Director, Jessica Arthur, seen last year directing the modern comedy, Chalkface. She is a directing force to be reckoned with. Her directing of raucous humour that segues into gently delivered pathos and heartbreak further enhances her leadership of the multi-tasking ensemble, who keep every second of the play moving at pace.

This is a wonderful play adapted from an international best seller. Moreover, it is a terrific night out that reminds us that as humans, our journey has been fraught with challenge, but the power that we have to speak, and be heard regardless of culture or gender defines us.

Jude Hines

Photographer: Sam Roberts