By Olivia Williams
Now, Pip Williams’ evocative tale of language, power, and silenced voices is set to captivate audiences once more.
The acclaimed stage adaptation by Verity Laughton, which premiered at Adelaide’s Dunstan Playhouse, will launch a national tour in 2025, with Adelaide audiences treated to a return season from 3 to 17 April.
As an Adelaide native, Williams’ connection to her story and her home state shines through in every aspect of her work.
For Williams, The Dictionary of Lost Words started with a question. After reading Simon Winchester’s The Surgeon of Crowthorne, she was struck by the male-dominated process behind the creation of the Oxford English Dictionary (OED).
“If everyone involved in defining the words were men, then how well did that first edition of the OED represent the way women used words?” Williams pondered. Her curiosity deepened when she discovered the story of bondmaid, a word mysteriously omitted from the dictionary’s first edition.
It was the perfect place to start a story about women’s words and why they matter.
Language, for Williams, is not just a tool but a powerful force that shapes identity and history. “If we can’t define ourselves with words, then we can’t be properly understood or included,” Williams explained.
The Oxford English Dictionary was shaped by educated men, using texts predominantly written by men, leaving the experiences and expressions of women and marginalised groups overlooked.. Williams’ investigation raised questions about whether this inherent bias affected what words, and therefore stories, were remembered or forgotten.
“I wanted to know if men and women might sometimes use different words to express their unique experiences, and if they did, was it possible that some words and meanings that belonged to women were left out of the first edition of the Dictionary?” she asked.
Set in 1886, the novel follows Esme, a young girl growing up in the “Scriptorium,” where male lexicographers curate the dictionary. Esme’s journey becomes a poignant exploration of whose voices are preserved and whose are erased.
While rooted in history, Williams’ narrative remains strikingly relevant. “This is a story about language, inclusion, and representation—issues that continue to concern women today,” she noted. “The essence of the story—how language defines who we are—is relevant to other groups still not well represented, from First Nations people to immigrants and LGBTQI+ communities.”
The power of language, both as a tool and a weapon, lies at the heart of the story. Her meticulous research into the biases of the OED raises broader questions about other revered texts shaped by dominant perspectives. As Williams put it, “I’m sure the same biases exist in encyclopedias, histories, laws, and constitutions.”
The leap from page to stage can be daunting for any author, but Williams described the experience as transformative. “I was lucky enough to read the script at various stages and sit in on a couple of rehearsals, so I knew it was going to be a treat,” she said.
The first time I went to rehearsals, I was genuinely humbled, almost into silence – the investment in it was extraordinary and I’m not just talking about the financial investment.
“I’m talking about the creativity, passion, skill, time and care. Everyone, from playwright, Verity Laughton, and director, Jess Arthur, to the actors, set designer, lighting designer, composer, costumer designer, and all the people who bring their visions to life. There wasn’t a person involved who wasn’t excited and committed.”
Williams continued, “When I finally saw it on stage I was stunned. As a writer, I never watch someone reading my work. But there I was, sitting beside people who were wiping tears from their eyes during scenes that had started out as scribbles in my notebook. These people had animated them in a way I could never have imagined. The collaborative magic of theatre is a beautiful thing.”
The upcoming national tour promises to expand the reach of this “fabulous adaptation” (Australian Stage). Starting in Sydney, it will visit Geelong, Brisbane, Canberra, Wollongong, and finally return to Adelaide. With Verity Laughton’s deft adaptation and Jess Arthur’s direction, the production captures the novel’s rich emotional depth. Each performance breathes life into Esme’s journey, from her formative years collecting discarded words to her realisation of their profound significance.
Beyond the stage, Esme’s story is also set for the screen. A TV adaptation is in development, offering yet another lens through which audiences can engage with Williams’ creation. “There is a lot that can be done on screen that can’t be done on the page or stage,” she remarked. “I hope that Esme’s story is enriched by what screen can do.”
Williams’ success with The Dictionary of Lost Words has been a milestone for South Australian literature. “The support my book has received in South Australia feels extraordinary, and very humbling,” she said. “It has been embraced around the world, but nowhere more than South Australia. Not only have readers picked it up in droves and shared it with family and friends (forever grateful BTW), but other South Australian creatives have connected with the story and imagined it anew. I am so proud to be part of this creative state. It feels exciting and supportive and enriching and I love what happens when we share our stories with each other and with South Australian audiences.”
As the stage adaptation prepares for its encore, Williams is already working on her next novel, which will revisit some familiar characters. “These fictional characters continue to live their lives in my imagination,” she revealed. “It is a joy to get to know them a little better.” While details remain under wraps, fans can rest assured that her storytelling will continue to probe the intersections of history, language, and identity.
The 2025 return of The Dictionary of Lost Words to the Dunstan Playhouse is more than just a homecoming. It’s a celebration of the enduring power of words and the voices they carry. As audiences prepare to experience Esme’s journey once again, Williams’ reflection resonates: “Language is not just about communication. It’s about belonging.”
The stage adaptation of The Dictionary of Lost Words will run at the Dunstan Playhouse in Adelaide from 3 to 17 April 2025. Tickets are available through the State Theatre Company SA.
