Based on the true story of Marie-Berthe Cazin, a ceramic artist in 1930s Paris, In Clay (most recently at Upstairs at the Gatehouse) is a tender and moving one-woman musical. As she waits for her friend – fellow artist Henrietta Tirman – Cazin tells us her life story and examines its triumphs, trials and frustrations.
The backdrop of the early 20th century is painted clearly as is Cazin’s bubbling resentment that her work is not acknowledged to be as powerful as the painting of her friend and that much of her work is falsely attributed to her husband.
This is a piece of work born in lockdown and writers Rebecca Simmonds and Jack Miles have nurtured the piece through performances at The Other Palace, New Wimbledon Theatre studio spaces and a debut at Vault Festival. Rosalind Ford as Marie-Berthe Cazin has an impeccable singing voice with a full range of emotion – she can vary the tone expertly meaning we are never bored to hear just her one voice.
The four-piece jazz band accompanying match the material perfectly and never overpower the story or Ford’s performance. It is a rare treat that audiences are invited in to the auditorium 15 minutes early to share their music.
Even more unique, is the all-woman pottery exhibition curated to accompany the show with a range of stunning pieces.
The full experience of In Clay is like nothing I have experienced before. It has already won an Offies OffFest award and I would not be surprised if it wins more, it has a stunning seven nominations in the 2024 Offies cycle.
While InClay may not be on stage now, I feel sure this is a show we will see return.
Have others seen In Clay? What were your thoughts?
Red Bus Londinium Life 
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