Sydney Theatre Company’s RBG: Of Many, One continues to strike a powerful chord with audiences across the country. Since its 2022 premiere, the one-woman show has played to sold-out houses and rave reviews. Now, in a well-earned victory lap, the 2025 season has toured to Riverside Parramatta, Melbourne, and HOTA on the Gold Coast, where I caught the show last night. It heads home to the Sydney Opera House on 10 April for its final bow.
Written by Suzie Miller and directed by Priscilla Jackman, RBG: Of Many, One is a compelling portrait of Ruth Bader Ginsburg. A trailblazing US Supreme Court Justice, Ginsberg dedicated her life to fighting for gender equality and civil rights. Born in Brooklyn in 1933, she rose to the top of her class at Columbia Law School, battling systemic discrimination in the legal world. She eventually became the second woman appointed to the US Supreme Court in 1993. Her legacy as a fierce dissenter and icon of justice lives on.
The structure of the play is simple but incredibly effective. Clocking in at just over 90 minutes with no interval, it unfolds in a single act. Scene changes are marked by brief blackouts and subtle costume adjustments, allowing the audience to stay fully immersed in RBG’s world. Like a feature film, it’s best experienced in one sitting. The momentum never dips, and the impact is stronger for it.
At the centre of the show is Heather Mitchell, giving what can best be described as a masterclass in solo performance. Mitchell doesn’t just play Ginsburg; she becomes her. From the quick wit and sharp mind to the physical transformation that sees her age decades before our eyes, Mitchell’s performance is astonishing. Her body and voice shift so seamlessly with time that the effect is almost cinematic. She also slips into impressions of Barack Obama, Bill Clinton, and Donald Trump with uncanny accuracy. Each one is vivid, funny, and incredibly human.
Mitchell’s portrayal doesn’t just capture Ginsburg’s legacy; it opens a dialogue with the audience. Her ability to speak directly to us never feels forced or theatrical. It’s as though Ginsburg is in the room, sharing her memories, frustrations, and hopes for the future. In a particularly powerful scene, she recounts her first trip to the opera as a young girl. Another standout scene is a lively lunch with Obama: witty, warm, and politically charged.
The design elements are minimal but effective. David Fleischer’s set consists of a single rippled screen, which shifts in mood and location thanks to Alexander Berlage’s clever lighting design. At one moment, it’s a courtroom, the next a restaurant, then the grand red curtain of an opera house.
Paul Charlier’s score adds subtle emotional beats throughout, and the mash-up of The Magic Flute’s ‘Queen of the Night’ with Duran Duran’s ‘Notorious’ is a cheeky nod to Ginsburg’s love of opera and her pop-culture nickname, Notorious RBG.
Voice and dialect coach Jennifer White deserves special mention for the incredible accent work, helping Mitchell navigate Ginsburg’s Brooklyn tones and the many voices of those around her.
What struck me most was how the play balances strength and vulnerability. My guest, someone deeply passionate about women’s rights, left feeling seen and truly understood. The play doesn’t preach or accuse; it simply tells the truth, letting the weight of it speak for itself. It’s a show that embraces complexity with grace and humour. And yes, it throws some well-deserved shade at Trump, and it’s hilarious.
In today’s world, with Trump once again back in office and women’s rights under renewed threat, RBG: Of Many, One couldn’t be more relevant. It is a moving reminder of what we stand to lose, and what we still have to fight for.
RBG: Of Many, One‘s season at HOTA on the Gold Coast has now ended, running 3 – 5 April 2025.
It transfers to the Sydney Opera House, playing at the Drama Theatre from 10 April to 17 May.
Tickets: https://www.sydneytheatre.com.au/whats-on/productions/2025/rbg-of-many-one-2025
Socials: https://www.instagram.com/hotagc/ and https://www.instagram.com/sydneytheatreco/
Website: https://www.sydneytheatre.com.au/
Photo credits: Prudence Upton
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