Theatre / The Dictionary of Lost Words, adapted by Verity Laughton from the book by Pip Williams, directed by Jessica Arthur. At The Playhouse, until May 24. Reviewed by LEN POWER.

Travelling through time, The Dictionary of Lost Words tells the story of the girl who stole the word “bondmaid”, which was found to be missing from the Oxford English Dictionary in 1901.

Young and motherless Esme Nicholls spends her childhood in the Scriptorium, a converted garden shed in Oxford, where her father and a team of lexicographers are gathering words for the first Oxford English Dictionary.

Hiding under the sorting table, she catches a word, “bondmaid”, on a card as it falls. Finding other words that have been neglected by the men, Esme begins a collection of her own – the Dictionary of Lost Words.

Growing up, Esme realises that the recording by men of words and meanings related to women’s experiences have been given little importance.

Through the power of the words she has gathered, she effectively gives voice to the many silenced people she has come to know over the years – the actresses, suffragettes, market traders and workers.

South Australian novelist Pip Williams’ internationally best-selling book, in a stage adaptation by Verity Laughton, has been given a sumptuous co-production by the State Theatre Company of South Australia and the Sydney Theatre Company.

Directed with great imagination by Jessica Arthur, it has a superbly designed split-level set by Jonathon Oxlade that incorporates clever projections with a fine lighting design by Trent Suidgeest. It really is a feast for the eyes.

The cast of eight, some of whom play multiple roles, all give nicely etched characterisations.

Shannen Alyce Quan plays the huge role of Esme Nicholls with great skill and charm, ageing from young girl to woman as the play progresses.

Johnny Nasser gives a strong, appealing performance as her father. Both performers play their changes in age with notable subtlety, aided by the detailed costume designs of Alisa Paterson.

Amongst the performers playing multiple roles, Angela Nica Sullen is a standout as actress and suffragist, Tilda, giving her a formidable strength as well as warmth. Kathryn Adams is a delight as Lizzie, the maid in the Nicholls’ household, and Ksenja Logos is memorable as Mabel, a market worker who teaches Esme about certain words not heard in polite society.

The play is a subtle lesson in the power of words and how they can silence certain sectors of society, particularly women, as they struggle to be heard in a man’s world. Its message is effectively and beautifully told in this very enjoyable production.