As a young female law student, I looked up to women judges; they were groundbreakers for me, and they remain so. The more women in powerful legal positions, the more opportunity for the law to be influenced by women’s lived experiences. Ruth Bader Ginsburg, herself, brought all her intelligence and thoughtfulness to her judicial profession; she brought her feminism, her roles as mother, daughter, life-partner; she bought her Jewish background, her childhood of loss and socio-economic repression, she brought her incredibly flexible mind and her sharp senses. She brought herself as a woman completely and without apology. All of which has not only influenced the USA but women’s lives around the world – including women and lawyers in Australia.

Throughout her life, RBG felt strongly about democracy and the rule of law, and to ensure both of these, she applauded the strict separation of executive and judicial powers. The rule of law, in short, means that no one is above the law – including leaders and politicians. This accountability and transparency must never be taken for granted, and the separation of powers – that the government and the courts must never interfere with or seek to influence each other – is a way of keeping the checks and balances on both the government and judges of the day. This is democracy in action.

With RBG: Of Many, One, I was so warmly supported by Kip Williams, Artistic Director at STC in expressing my unique vision for the play. I wanted to focus on the incredible legacy of RBG, and specific conversations/ dialogues she had with three different US presidents: Clinton, Obama and Trump. In particular, I wanted to explore how even the mighty and most brilliant of us can make mistakes, and that what protects our way of life is the rule of law itself.

In writing RBG: Of Many, One it was always Heather Mitchell who was to play her. Her talent is astonishing. Heather’s love of the character and her full-bodied soulful investment is a gift. In Priscilla Jackman I have found a brilliant director, one I admire for her talent, intellect, commitment and sheer bloody-mindedness in getting it right.

In David Fleischer’s design there is a magnificent realisation of the sheer size and power of the institution Ruth served, and the big life she led. The lights and sound have created a landscape that I could only have dreamed of, operatic, moody, fun and exciting – I thank both Paul Charlier and Alexander Berlage for their vision and hard work, together with Stage Manager Katie Hankin. For their dramaturgy, I thank; Polly Rowe, Kip Williams, Caleb Lewis, Paige Rattray and Jessica Arthur from STC, who offered valuable thoughts and insights. I also thank Robert Beech-Jones (my partner), Marty McGrath (Heather’s partner); and Karen O’Connell, Nicole Abadee, Rochelle Zurnamer, Hilary Bonney, Lisa Hunt and Sam Mostyn – my sisters ‘in law’ – who all encouraged the telling of this very female-focused law story.