In Clay Shapes Beauty from Broken History at Signature Theatre

A powerful new musical about overlooked French ceramicist Marie-Berthe Cazin has arrived at Signature Theatre in Arlington, bringing with it an extraordinary one-woman performance that demands attention. "In Clay" runs through February 1, 2026, in Signature's intimate ARK Theatre, offering audiences a rare glimpse into the life of an artist whose contributions were nearly lost to history.

In Clay at Signature Theatre

The production tells the story of Marie-Berthe Cazin, a talented ceramicist working in late 19th and early 20th century Paris whose accomplishments were overshadowed by the men around her. What makes this musical remarkable is how it transforms sparse historical details into a vivid portrait of artistic determination and creative voice. Through fourteen original songs, audiences witness Cazin's evolution from a promising young artist studying under renowned French painter Jean-Charles Cazin to a master potter fighting for recognition in a male-dominated art world.

Alex Finke delivers a tour-de-force performance as Marie-Berthe, commanding the small stage with remarkable presence and vocal prowess. The role requires Finke to embody not just the central character but also a full cast of supporting players, including Marie's friend Henrietta Tirman, her husband and fellow potter Michel Cazin, and her mentor Jean-Charles. Finke moves effortlessly between these characters while maintaining the emotional core of Marie's journey, her voice ranging from powerful belts to ethereal high notes that captivate from the first moment to the last.

The musical score itself is a standout element, featuring music and lyrics by British collaborators Jack Miles and Rebecca Simmonds. Drawing inspiration from Jazz Manouche—a distinctive blend of Romani folk music with American swing—the fourteen songs create an atmospheric soundscape that transports audiences to Belle Époque Paris. The live four-piece band, positioned onstage throughout the performance, includes music director Matt Herbert on piano, Madalyn Navis on violin, Jonny Marques on guitar, and Joanna Smith on upright bass. Their musicianship adds an intimate cabaret quality to the production, with the warm, jazzy tones perfectly complementing the story's Parisian setting.

Director Kimberly Senior has crafted a production where artistry extends beyond performance into every design element. The staging makes brilliant use of Tony Cisek's scenic design, which centers Marie-Berthe's pottery wheel as both literal workspace and metaphorical heart of the show. The studio setting feels authentically lived-in, with shelves lined with pottery, stacks of paintings, a deep farmhouse sink with running water, and carefully chosen period details that speak to both the chaos and discipline of an artist's life. The pottery wheel becomes a focal point for some of the show's most mesmerizing moments, as audiences watch the clay transform under Marie's hands in perfect synchronization with the musical score.

Colin K. Bills' lighting design deserves special recognition for the way it enhances the natural light so essential to any artist's studio. The large skylights in Cisek's set are brought to life through subtle shifts in illumination that mark changes in time, mood, and emotional state. Shahrzad Mazaheri's costume design uses an earthy palette of rust, peach, plum, and evergreen tones that reinforce Marie-Berthe's connection to her medium while also highlighting her modernity through unconventional choices like pants that set her apart from her more traditional contemporaries.

The technical elements work in perfect harmony to support the storytelling. Eric Norris' sound design balances the live band with Finke's dialect work, ensuring every word and note reaches the audience with clarity. Amanda Quaid's dialect coaching helps Finke navigate Marie-Berthe's French-accented English with authenticity and ease. Even the props, designed by Jack Dorsey, show meticulous attention to pottery techniques and period accuracy, with pottery consultant Jon Kerr ensuring the craft at the show's center is honored with respect and precision.

At just 90 minutes with no intermission, "In Clay" maintains remarkable energy and focus throughout. The compact runtime allows the show to build emotional momentum without flagging, while the single-act structure mirrors the concentrated intensity of the creative process itself. This efficiency of storytelling reflects a larger trend in theater toward smaller, more intimate productions that emerged from the constraints of the pandemic era—proof that limited resources can sometimes yield the most powerful results.

What elevates "In Clay" beyond a simple biographical sketch is its thematic resonance. Marie-Berthe Cazin's story is not presented as exceptional but rather as representative of countless women artists whose work was claimed by male colleagues and family members. The musical explores the tension between artistic collaboration and exploitation, the challenge of maintaining creative identity within marriage, and the persistent question of how women artists claim authorship in a world determined to deny it. These themes feel particularly relevant given ongoing conversations about recognition, credit, and the recovery of women's contributions to art history.

The production's intimate scale works to its advantage, creating a sense of direct connection between performer and audience. Finke frequently breaks the fourth wall, engaging directly with viewers in moments that range from playful asides to desperate pleas for understanding. This closeness draws the audience into Marie-Berthe's world, making them witnesses to her triumphs and confidants in her struggles. The small ARK Theatre becomes the perfect container for this kind of storytelling, where every gesture and vocal inflection registers with crystal clarity.

"In Clay" joins a select group of new musicals that have premiered at Signature Theatre before finding wider audiences, suggesting the potential for this production to have life beyond its current run. The combination of a compelling true story, a rich musical score, and a star-making central performance creates the kind of theatrical experience that stays with audiences long after leaving the theater. For those who appreciate intimate storytelling, powerful female-centered narratives, and the intersection of multiple art forms in service of a single story, this production offers a rare and rewarding experience.

Signature Theatre's presentation of "In Clay" runs through February 1, 2026, at the ARK Theatre, located at 4200 Campbell Avenue in Arlington, Virginia. This American premiere marks an important moment for new musical theater and offers Washington-area audiences the opportunity to witness a production that celebrates artistic perseverance, creative voice, and the long-overdue recognition of a talented woman whose story deserves to be heard.