RBG: Of Many,One

Last night the stars were aligned to present a brilliant piece of theatre. Ruth Bader Ginsberg, as portrayed by Heather  Mitchell is a woman of prodigious intelligence, strong character, a tireless crusader for civil rights and gender equality, and a fascinating human being. 

As the play begins Ruth is waiting for a phone call from Bill Clinton which will confirm that she has been appointed to the Supreme Court of the USA – only the second woman to be so honoured. While this is the starting point, the story weaves seamlessly and skilfully through various stages in Ruth’s life, from her childhood to her death, touching on some of the important milestones in her judicial career and family life. In the telling, she uses voice and gesture to bring various people to life. Bill Clinton, Obama, and even Trump are there. Her mother, who died when Ruth was young, was a constant inspiration while some eminent members of the legal fraternity erected obstacles to her career, based on the idea that a woman doing law was simply taking away the place which should have been given to a man. Her husband, Martin, supported her in every way throughout a long marriage.

While Heather Mitchell is brilliant, compelling and absorbing in her portrayal of Ruth Bader Ginsberg she is given the perfect vehicle by the writer Suzie Miller.  The narrative, flows easily through the changes of character and events, timelines and milestones. There is humour and pathos, but also, and importantly, a vivid portrait of Ruth and her achievements, as a sympathetic human being.

The set, designed by David Fleischer and Lighting designed by Alexander Berlage create Ruth’s home, the Oval Office, Supreme Court Bench and the gym in the Court building with subtle and deceptive simplicity. 

The last of the stars is the music designed and composed by Paul Charlier. Ruth had early discovered the emotional depth and beauty of opera which gave a voice to the forces that drove her to fight for justice. From Puccini to Wagner and a thrilling pastiche of Mozart’s Queen of the Night, the music revealed a spiritual and sensual aspect of Ruth’s personality through her response to it

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This is theatre, in which all aspects of the production combine to produce a fascinating portrayal of an important woman who did make a significant difference. Should she have resigned from the Bench earlier, and made way for her replacement? Was she justified in holding on as she still had fights to win? There is no clear answer to that question. What is clear is that she was not a woman to turn away from a challenge.

In her Director’s Notes Priscilla Jackman writes:  The gift of working within the deep collaboration alongside Heather, Suzie, David, Alex, Paul, our creative associates and stage management team, Kate and Brooke, has been an extraordinary and sacred journey – and one I believe Ruth herself would entirely approve of. 

I leave the last word to Priscilla.

Dunstan Play House  10 April-2 May

Image: Prudence Upton