By Constance Drugeot 

Pictures: all rights reserved

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Following an acclaimed run at the VAULT Festival last year, In Clay opened at Upstairs at the Gatehouse in Highgate London on March 13th for a few weeks only. As a French writer, I was intrigued by this story, set in Paris in the early 20th century, and this French artist who captured the attention of Jack Miles and Rebecca Simmonds, the creators of the show. So, I didn’t think twice and bought a ticket for this new musical, directed by Grace Taylor, and made my way to Highgate. 

The small and intimate theatre space is re-designed by Rachael Ryan (set & costume designer) to look like a quaint Parisian art studio, with large windows and shelves full of pottery and paintings clustered all around. At the centre of the stage, sits a pottery wheel around which the rest of the design revolves, highlighting how Marie’s life will be devoted to her art. The auditorium is plunged in earth colours and textures, always drawing us into this 1930s Parisian art world. I did appreciate spotting amidst the cluster, a few moving boxes with some writings in French (‘vêtements et chaussures’ for ’clothes and shoes’), these kinds of details are what make the story even more authentic to me! To finish the setting, a small band composed of a bassist, a violinist, a guitarist and a pianist, is sitting on the edge of the stage, playing French-styled period pieces, setting the ambience perfectly before the show begins. 

In Clay tells the story of Marie-Berthe Cazin, a French painter, potter, and goldsmith, whose work has been overlooked during her lifetime and believed to be passed off as being her husband, Michel Cazin. The one-woman show, set to a beautiful score by Jack Miles, explores Marie’s connection with her pottery throughout her life and how this indescribable bond shaped her relationship with her husband and friends. The show spans between the 1910s and 1930s, during which we get to know Marie as a young woman full of hope who discovers the glorious mystery of pottery and we watch her grow into a woman who has lived through disappointment and loss without losing the spark that drives her. In Clay is a 90-minute feat where the actress never once leaves the stage! 

Rosalind Ford brings to life this remarkable woman through a powerful yet vulnerable performance which will leave you speechless. Leading a one-woman show isn’t easy and yet, Ford captured our hearts (and our ears) from the moment she stepped on stage and established herself as a bold and riveting storyteller. Through brilliant acting and gorgeous belting, she manages to give life not only to Marie-Berthe but also to her great friend and fellow artist, Henriette Tirman, her husband Michel, and several other colourful characters. Her performance, as her character, is vibrant and passionate. I was particularly moved by the song ‘See-Through’ where Ford completely lets go of years of built-up resentment, bitterness, and sorrow. Through her, we experience Marie’s fascination for pottery, her eagerness to succeed, her love for Michel, her devotion to art, her rage over her lack of success, her grief for what was lost, and most of all, her boundless passion.

Rosalind Ford brings to life this remarkable woman through a powerful yet vulnerable performance which will leave you speechless.

A woman’s life is full of interrupted moments and deceptions, especially at a time when women were put aside, and Marie’s experience wasn’t any different. However, one thing that remains throughout is her love for creating. Setting the pottery wheel at the centre of the stage is then a beautiful representation of Marie’s life and throughout the show, Ford moves around it, sometimes further away, but always coming back to it. This small clay piece remains the heart of Marie’s story.

What’s more, we even get to see it in action. Towards the beginning, Ford gets on her stool and works her magic, making in front of our eyes, a stunning little pot. Her commitment to the art fascinates us as much as seeing the pot come to life under her hands. And this is not all, as a true artist, Ford splashes wet paint and clay all around the stage, plays with ceramic pots, hangs paintings, throws letters on the ground, and at the end when she “accidentally” breaks her first pot, she starts to mend it in front of us too. 

In the programme, the show is described as “its own museum to Marie”, and seeing Rosalind Ford’s passionate retelling of her life through live pottery and spirited storytelling, I can’t help but agree. In Clay is a love letter to women artists and the powerful nature of their works. Upstairs at the Gatehouse continued to celebrate women and their art by featuring next to the auditorium a contemporary exhibition of over thirty women artists working with clay, curated by Rose Gleadel. In addition, portraits by the show’s very own leading lady, under the name Rosalind Olivia, are exposed to the public. It is even more heartwarming to see that a show about a woman’s life is made of such a strong female creative team. Hats off to all of these incredible ladies!    

In Clay is a love letter to women artists and the powerful nature of their works.

In Clay gives Marie-Berthe Cazin the light and recognition she never had during her lifetime and through her, we are given the lives, passions and sorrows of all women artists before and after her. Rosalind Ford is a tour-de-force as Marie and her powerful and vulnerable performance gives life and heart to the story in the most beautiful way! The show runs only until April 7th so grab a ticket while you can. 

Félicitations à tous !