The Dictionary of Lost Words makes its highly anticipated Queensland debut at QPAC this Saturday as part of its 2025 national tour. Adapted for stage by Verity Laughton, the play premiered in 2023 to sell out seasons in Adelaide, Sydney and Melbourne. Based on Pip Williams’ New York Times bestselling novel, it was the first Australian title selected for Reese Witherspoon’s Book Club. The Scoop sat down for a chat with the play’s Director, Jessica Arthur, ahead of opening night. Jessica talks the joys of returning to the production, and the importance of it in the current cultural context.
Why do you think The Dictionary of Lost Words has resonated so much with audiences?
I think the very obvious answer is there’s a huge fan base from the book. But I think a big thing that people love is that it actually starts to interrogate history and systems in a way that they don’t expect or necessarily know. Especially when it comes to the forming of the Oxford English Dictionary. Like the true history of it, but then what that makes us examine beyond it.
For example it questions who has the power to dictate which words are more important than others, and which people are more important in society than others. So I think the play starts to unexpectedly open something up that people don’t expect. They’re expecting a good story, but on top of that, it makes them think deeper.
You directed the original production and now you’ve returned for the 2025 tour. What were you most excited about to come back?
It’s rare to be able to have the time, especially with new works, to come back to something and go deeper. The system here in Australia is usually structured very hard and fast. You’re not ever guaranteed return seasons. So it is such a joy, a pleasure, and a privilege to come back to something like this, especially a new work.
Even this cast, we’ve got seven out of eight new people. Everyone who contributed from the start has been pivotal and incredible, but it is so useful to have a fresh perspective as well. So, having the time apart and the distance away from it for both me and for Verity, and then to get fresh eyes and ears from the new cast, it’s a joy as it means you can breathe an entire new life or freshness into it.
But the amazing thing is, there’s a really solid foundation that has already been laid down for all of us to go further. And it means we can come in and hit the ground running.
What are you hoping Queensland audiences take away from this production, especially in the current cultural context?
There’s a speech at the end that you’ll see that I think unfortunately is becoming more and more relevant. We’re also heading towards an election. But just with the state of the world right now it really brings into focus the power of words. How people harness language in ways that are potentially violent or destructive rather than celebratory or boosting. I think at this point language is being weaponised in a really horrendous way. The story makes you really think about institutions and the structures we exist in. What they are and how they’ve even come to exist.
We have such an incredibly rich culture in Australia that we don’t actually give proper respect to and actually listen to. Instead we’re looking to the ‘motherland’ to dictate how we exist as people. And a lot of that has to do with language and power and institutions. There are some really cool characters in this story who question that, or curb it, or find their own way to do it. And I think there’s something really beautiful in that.
A lot of it too celebrates the people who were the actual craftspeople and the actual makers; the people who did the invisible work that were never given the true acknowledgement or respect they deserved.
Audiences have been surprised by how much it can resonate with them on many different levels. Even a lot of older men are surprised. Their wives are bringing them along and they’re finding it historically quite interesting. But then they’re also finding that what it’s actually breaking down is also quite fascinating and worth questioning.
You said something so beautiful in the Director’s Note in the program. You said: “Esme teaches through her story weaving with others, not so much the power of words, as the rarity and beauty of truly being able to listen. Listening, the true superpower beyond the words, is the space that makes dignifying others possible.”
Yes that’s it. That’s the thing that attracted me to this story. It’s the moments where words can no longer actually give you what you need. Words can’t always articulate an experience. I think that it’s the in-between that gives us more, in a way. But, of course, we can’t frame those things without words.
What advice would you give to anyone wanting to get into this industry?
The thing I would say is, the arts are very important, but you need to keep a sense of yourself within it. I think that as long as you can keep a sense of who you are, and what you’re interested in, and know what you want to say and do, you’re going to be well on your way.
I think at this point a lot is becoming commercialised and it feels like you can only make art if it’s going to make money. If you can really stay true to yourself though, that’s worth holding onto.
I also think that diversifying your portfolio is very practical. When I started out, I was doing so much retail, and even though I’ve gotten to the point I’m at, retail is never far away from my mind. Find ways to support your art that also keep you grounded in the real world. Because that’s also going to help with your art in the end.
The Dictionary of Lost Words runs from 26 April to 10 May at the Playhouse, QPAC.
Tickets on sale now through QTIX.
Website: https://www.qpac.com.au/whats-on/2025/the-dictionary-of-lost-words
Socials: https://www.instagram.com/sydneytheatreco/
Hero image photo credit: Prudence Upton
The Dictionary of Lost Words remaining 2025 tour dates:
Brisbane 26 April 26 to 10 May – Playhouse, Queensland Performing Arts Centre
Canberra 15 May 15 to 24 May – Playhouse, Canberra Theatre Centre
Wollongong 29 May to 7 June – Merrigong Theatre Company, Wollongong
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