Heather Mitchell’s Ruth Bader Ginsburg shares with us a piece of wisdom she received upon wedding her husband Marty: earplugs are the secret to a happy marriage. This nugget reflects the unexpected humour threaded throughout RBG: Of Many, One, which is seen equally in Mitchell’s biting impressions of her male contemporaries. Her version of President Bill Clinton makes a ridiculous yet convincing “nomnomnom” sound, while her Trump is just so… unnervingly Trumpian. This play might be modest in its set dressing and number of cast members, but its sizeable reputation precedes it. Aside from the gargantuan legacy of the former Supreme Court justice whose life this play chronicles, the reputations of both its star and playwright also measure much taller than RBG’s five feet. Suzie Miller, the lawyer-cum-playwright behind Prima Facie, has again put her legal expertise to good use to chronicle RBG’s epic life in a way that demonstrates her deep understanding of the case law underpinning her legacy. Heather Mitchell is known for Binge’s Love Me and Sydney Theatre Company’s Still Point Turning: The Catherine McGregor Story. Here, under impeccable direction from Priscila Jackman, she excels with a character study so spot on that it feels completely effortless. We meet RBG as she waits anxiously for the call from President Clinton – will she be his next nominee for the Supreme Court of the United States? If she makes the grade, she’ll be the second-ever woman and the first Jewish woman
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