Alex Finke as Marie-Berthe Cazin. Photo by DJ Corey Photography.
The pottery wheel spins like an acrobat. The clay ebbs and flows, hypnotic and sensual, alive with a hint of danger. Will the pot collapse? The sculptor must move sure and strong, yet with deft fluidity. During “In Clay,” the audience watches transfixed as Marie begins to mold her first pot to the smooth tempo of a bass. The U.S. premiere of this one-woman musical casts a spotlight on the nearly forgotten French potter, Marie-Berthe Cazin. With an excellent solo performance from Alex Finke and a rich, jazz score set ablaze by a four-piece band, “In Clay” has plenty to enjoy, even if the book struggles to find a deeper purpose.
…an excellent solo performance from Alex Finke and a rich, jazz score set ablaze by a four-piece band…Finke delivers a charming tour-de-force…
Marie-Berthe (Alex Finke) shows artistic talent early, catching the eye of the French painter Jean-Charles Cazin, who takes her under his wing. Under his tutelage, Marie meets Henrietta Tirman, another promising young artist, and the two become fast friends. Marie also meets Jean-Charles’ standoffish son and her future husband, Michel Cazin, and finds her medium: clay. But, her path is hardly smooth. In betrayal, Marie learns her limits and, in grief, discovers her artistic style.
As a one-woman show, “In Clay” rests heavily on Finke’s small shoulders. While Marie’s voice leads, Finke must become the full cast of characters when needed. Henrietta speaks with a high and lilting tone while Michel is deep and rough. Expressive and energetic, Finke commands the intimate Ark Theatre with bright eyes, jumping eyebrows, and confident hands moving all to her will. Staring into the audience, no fourth wall impedes Finke’s delivery of a winking innuendo about Michel’s hands or begging question, “Am I an artist?” Yet most remarkable is Finke’s strong belt, carrying each of the 14 musical numbers.
Jack Miles and Rebecca Simmonds’ music and lyrics swing from breezy tunes like “Talent” to gale-force crescendos like “End II.” Though one jazzy number begins to blend into another, the bouncy score is never dull or flat. Though the set is small, it never feels static. Under Kimberly Senior’s direction, “In Clay” is a kinetic whirlwind of water droplets flung from fingertips. Some of the few quiet and still moments of “In Clay” are when Marie admires a work of art. By pausing, Senior invites us to see what Marie sees in an oil landscape or clay pot.
In Tony Cisek’s set, there is art almost everywhere you look. In a perfectly petite studio—books and pots crowd the shelves while stacks of supplies clutter the floor. Blue washed walls and curtain-draped windows warm the work space as the band plays in the corner. Everywhere, the evidence of clay ripples out from the central pottery wheel: the floor, the tables, and the sink all stained with the dried splatters of silty water. To spare Marie the same fate, Shahrzad Mazaheri’s costume design include an overcoat for all scenes with wet materials that mostly protects Marie’s colorful, boho-chic ensemble. With a scarf tied around her artfully messy braid, Marie is unmistakably a free spirit.
“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.
Running Time: One hour and 40 minutes without intermission.
Advisory: Appropriate for ages 10+.
“In Clay” EXTENDED through February 3, 2026 at Signature Theatre, 4200 Campbell Ave, Arlington, VA 22206. For more information and to purchase tickets in-person or by phone (703.820.9771), Monday through Sunday: 12-8 pm (phone service begins 11 am on days with matinee performances), or go online.
