On the eve of a visit from her estranged childhood friend, now an acclaimed painter, French ceramist Marie-Berthe Cazin recounts her life. From her early days as a gifted protegee discovering the art of pottery, to watching her husband rise to fame partly by claiming her work as his own, through the upheaval of World War I, Marie's unwavering spirit reveals the beauty in the broken.
"...What follows is not exactly a portrait of the artist: “In Clay,” a tenacious and captivating solo musical about a forgotten French ceramist, is passionately focused on the artist’s process. Its disinterest in a final product doesn’t make the jazzy 100-minute show feel unfinished, but rather like a meditation on the restless dilemma of thwarted promise."
"...Making its American premiere at Signature Theatre, following sellout runs in London, the jazz-infused portrait of early-20th-century French ceramicist and painter Marie-Berthe Cazin doesn’t have too much else in common with hard-rocking Hedwig. Except that both shows are powered by a knockout batch of songs, and the galvanizing force of a woman reclaiming her time, her art, and her story."
"...It’s not for this critic, or anyone, to tell an artist when a work is complete or not. Even cracked pots are works of beauty as Cazin reminds us in the finale, “What’s in Between.” But I do wonder if just a little more molding, or a different glaze, might truly make In Clay the kind of work that’s impossible to ignore."
"...“In Clay” never quite finds the profound revelation it seems to be building toward as Marie’s life grows more complicated and songs more agonized. But the cliché of finding beauty in the broken is still sung plenty sweetly. Finke delivers a charming tour-de-force with a warm voice that never quavers. For a life near forgotten, “In Clay” is a feminist resurrection. At least for a moment, you’ll consider a pot differently."
"...Washington audiences, take note: we're getting first look at something remarkable. Signature Theatre's American premiere of In Clay belongs in the company of Dear Evan Hansen, Come From Away, Strange Loop and Next to Normal — those lightning-in-a-bottle productions that electrified our local stages before capturing national attention. Don’t miss this special opportunity."
"...In short, In Clay is a triumph of intention and execution. Every technical element is finely calibrated, every collaborator is working at the top of their game, and the result is a piece of theater that feels both intimate and quietly expansive. Marie-Berthe Cazin’s story is not presented because she was singular among artists or exceptional among women, but precisely because she was not."