Ruth Bader Ginsburg is one of the most famous jurists in global legal history. Known for her rise to the highest ranks of the American judiciary, taking her place on the Supreme Court of the United States and for her influence as a leader, especially for women in law, Ginsburg is one of the law’s most interesting figures. Yet for those outside the law, it is perhaps difficult to envisage how a play focussed around a judge and situated within a legal framework could be so enthralling and gripping. To me, this is the magic of this work and a testament to playwright Suzie Miller’s craft. It is a world that draws the audience in and leaves them captivated right until the very end.

What was immediately striking about the play was the depth of the writing and the amount of care and consideration given to the construction of the work. The play was not completely linear, instead interweaving events into a complex chronology which was not too difficult to follow but made the play a lot more interesting. This had the effect of showing where Ginsburg reached and then going back and filling in the back story. This was a very effective way to keep the audience engaged whilst developing the story. 

This did not feel like a superficial biography of Ginsburg either, rather it felt meaningful and layered as it confronted the impact (and loss) of Ginsburg’s mother, her support of her husband and her struggles as a working-class, Jewish woman in America when she began her legal career. It also used her passion for opera as a motif throughout the play, which served both as a dramatic device as well as an insight into Ginsburg’s world, making the audience feel like they truly knew the subject of the play. 

As strong as the writing in the play was, the utmost credit must go to Heather Mitchell who was extraordinary in the role of Ginsburg. It is an incredibly difficult task to carry a one-person show but Mitchell did a superb job, both in the titular role and comedically, when she embodied other characters through forms of imitation. This felt incredibly well done, which was an impressive feat given that imitations can often come off as tacky especially when imitating people from another country. 

The play was heavily legal by design and by necessity but did not feel convoluted or unnecessarily complex either. Any use of legal jargon was made accessible by contextual explanation and references to cases never felt superfluous, but rather, were made to advance the storyline or to explain the development of Ginsburg’s character. Given that the references were to the American legal system, there was always enough context given to ensure the audience could follow and were engaged at every point. 

It is also necessary to discuss the staging as it was absolutely spectacular. Every creative decision on stage felt right and indeed, poignant. No scene felt more powerful than the final scene which was constructed to highlight the wide influence of Ginsburg, both in America and around the world. Scene changes also felt seamless and Mitchell’s transitions were superb. 

There is an argument that some of the criticisms of Ginsburg’s legacy were glossed over at the end of the play (perhaps too much sympathy is afforded for some decisions made at the end of her tenure) but the fact that these issues are addressed in the play is still important nonetheless. However, her legacy on issues such as race and criminal justice is somewhat glossed over which is a little more problematic when viewing the play as a purely historical account.  

In spite of this, as an overall work, this is a stunning play from start to finish. Maintaining an audience in a relatively niche subject area is a difficult task and the hype around the show only demonstrates just how good it is for this reason. While the play certainly takes an unfailingly positive view of Ginsburg, it is a superb piece of writing which draws the audience in and leaves them spellbound. If the subject matter of the law interests anyone, even tangentially, then this is an extraordinary work that simply must be seen. 

Rating: ★★★★1/2

RBG: Of Many, One plays at the Drama Theatre, Sydney Opera House until 30^th March. For more information, click here.

Photo credit: Prudence Upton