Sydney Theatre Company’s The Dictionary of Lost Words, currently playing at the Roslyn Packer Theatre, is a meticulously staged adaptation that embodies the precision and restraint of early 20th-Century British theatre. Directed by Jessica Arthur, the production exudes the energy and structure of a classic period drama, yet at times, this fidelity-to-form results in a stilted experience. The emotional highs and lows remain tempered by a stiff upper lip, making even the most poignant moments feel as though they are observed rather than deeply felt.
Esme Nicoll grows up in the world of words, collecting discarded entries from the Oxford English Dictionary. As she matures, she discovers the biases shaping language, particularly against women and the working class. Determined to preserve these “lost words,” she embarks on a journey of self-discovery, defiance, and empowerment. It is a play built on intellect rather than raw feeling, which works well in moments but ultimately leaves the audience appreciating rather than connecting.
One of the show’s true saving graces is the comedic interlude of the Covered Market. Arriving at just the right moment, this scene infuses much-needed warmth and levity, keeping the audience engaged before the narrative returns to its more restrained tempo. It is here that the production finally lets loose, giving the characters (and the audience) permission to breathe.
Visually, the production is a triumph of collaboration between designer Jonathon Oxlade and lighting designer Trent Suidgeest. The movement between locations is seamless, achieved through a clever interplay of set and light, though the heavy-handed signposting of each scene change does grow monotonous. While functional, this approach undercuts some of the magic of theatre, where subtle transitions can often feel more organic.
Ailsa Paterson’s costume design is particularly noteworthy, with period-appropriate detailing that anchors the production firmly in its setting. Esme’s evolution is subtly reflected through her wardrobe, the use of tartan marking her progression from childhood to adulthood with an understated grace.
The ensemble cast is uniformly strong, their performances befitting any BBC period drama. The female characters, fittingly given the subject matter, steal the show. Kathryn Adams (Lizzie Lester, Mrs Smythe, Maria) and Angela Nica Sullen (Tilda Taylor, Sarah, Arthur Maling) navigate multiple roles with skill, their transitions fluid and convincing. Ksenja Logos delivers a masterclass in versatility, stealing every scene she is in with a chameleonic ability to shift accent, posture, and class status between Ditte, Mabel, Megan, and Alice.
At the heart of the production is Shannen Alyce Quan as Esme Nicoll, charting her character’s journey from precocious child to determined woman with endearing authenticity. She remains consistently engaging, balancing Esme’s innate curiosity with her growing defiance against the constraints of her world.
The Dictionary of Lost Words is a beautifully staged and finely acted production that brings Esme Nicoll’s journey to life with elegance and precision. It offers a compelling exploration of language, history, and identity. This production is a must-see for those who revel in the power of words and the stories they shape.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin.
The Dictionary of Lost Words runs for 2 hours 45 minutes (with 20-minute interval) and plays at the Roslyn Packer Theatre, through 22 March 2025. Tickets are available through the Sydney Theatre Company.
Disclosure: The Plus Ones were guests of Sydney Theatre Company.
Image credit: Prudence Upton
