Adelaide Reviews

RBG  –  the initials are etched into US judicial and legal history, and beyond: Ruth Bader-Ginsberg looms as a beacon of integrity, love and hope far beyond the US legal system. But in the case of this performance the initials shout, “Really Bloody Good!” This play and this rendition of it are more than that – stupendous, amazing, fabulous, gob-smacking and other superlatives all apply.

There have been many single handers in recent years – all done excellently, with talent, creativity and salient messages. But this one stands out from them all, and from many theatrical productions, because of the astounding virtuosity, immediacy, intelligence and pure soul displayed in the extraordinary acting talent of Heather Mitchell AM, who holds the audience spellbound through the vicissitudes of the life of RBG herself for 100 minutes without a break.

It may seem trite to say that this is a tour de force – but it is!  Mitchell seems to live the very ups and downs experienced by Bader-Ginsberg, including producing real tears as she recalls being swept away as a 16 year-old at a live performance of Pucini’s Tosca. She portrays the agonising losses of Ruth’s younger sister and later of her devoted and adored husband; her tension and anxiety awaiting a call from President Clinton with his answer about her appointment as a judge in the Supreme Court of the USA; and her many joys, successes and frustrations through many and varied legal cases. In portraying all this, Mitchell never loses touch with the audience, and shows a remarkable ability to mimic both Clinton and Trump among the five Presidents under whose administrations RBG served, and also shows the amazing strength of RBG’s convictions about the rights of women and the separation of Executive and Judicial Powers in particular.

Of course it takes more than just a great actor to make a great performance. Mitchell is excellently provided for by a beautifully nuanced script by Suzie Miller (although targeted at an American audience but which clearly resonates with an educated Australian crowd); an award-winning Director (Priscilla Jackman); talented designers of the set, costumes etc (David Fleischer); lighting (Alexander Berlage); sensitive and illustrative music (Paul Charlier); and a dedicated backstage team. These all come together to create this remarkable and memorable production, which has been successfully touring Australia for four years. It takes this kind of joint enterprise to transform what could have simply been a monologue into an outstanding piece of theatre such as this. 

It is in Adelaide until May 2. Rush to see it and don’t miss it!