REVIEW: IN CLAY at Upstairs at the Gatehouse 16 March – 7 April 2024

‘a one-woman musical par excellence’ ★★★★★ 

Set in 1930s Paris and based on the real life of female ceramicist Marie Berthe Cazin, this is a one-woman musical par excellence. It has a very strong storyline, toe tapping music, expert musical accompaniment and a top-drawer performer, what more do we need? Well …

The homely Parisian set (by Rachael Ryan) is very versatile becoming the artist’s studio, an art gallery and a backdrop for Marie to make her dreams fly into reality. Added to this there are several effects, whilst they don’t include a Chandelier flying low across the audience (famous in Phantom of the Opera), they are quite surprising and add a surreal element to the show.  

Not that the production needs any bells and whistles. Rosalind Ford as Marie, gives a stunning performance both musically and theatrically, taking the audience with her as she introduces us to various characters: her best friend (and competitor), her husband-to-be and several other strategic personages.  It’s a wonderful story taking Marie from a wannabe to a fully-fledged artist with the usual ‘sidelining’ (or plagiarism) experienced by many female artists in the day, and with war also glancing the story, it’s not all happy endings. Ultimately, though, peace of mind reins, which makes this a feel good, joyful, and feminist tale. 

At last, a musical from the feminine perspective which has some bite, so full marks to Rebecca Simmonds (book and lyrics), and Jack Miles (music and lyrics). How wonderful that the songs move the story forward and aid the characterisations.  There are many excellent songs, so it’s hard to single out one or two, except perhaps ‘Talent’ which was nominated for the Stiles & Drewe Best New Song Prize 2023. There are also some numbers featuring violin (played by Auguste Janonyte) which adds a certain something, perhaps giving it more of a gypsy jazz flavour. Delicious.

Ultimately, there is one star of this show and it’s Rosalind Ford, as she shone so brightly: her facial expressions so eloquent, her movements never too much, her voice always pitched perfectly and her French accent absolutely charming.  As Marie, she presents a delightful character with a playful sense of her own imperfections.  All the little humorous bits land and even the sad parts, give cause to feel sorry for her grief.

It seems likely that this is a musical which will have a long life provided it can be produced as expertly as this rendition. Also, of note, an exhibition of ceramicists work accompanies the show, so patrons should arrive a little early to take advantage of this beforehand. Another innovation is the option to book a cabaret table on the stage. This nicely adds to the intimate and homely atmosphere in the auditorium. Instead of a rigid line between the stage and the seats, there’s a feeling of interaction (but don’t worry, there isn’t any actual audience participation), everyone can just enjoy the spectacle.

Photography: Felix Mosse

Presented by Upstairs at the Gatehouse and Design & Canvas Co.

IN CLAY

16 March – 7 April 2024

Box Office https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173647539/events/428611014

Book & Lyrics by Rebecca Simmonds

Music & Lyrics by Jack

Direction by Grace Taylor

Lighting Designer Chris McDonnell

Set & costume by Rachel Ryan

Reviewed by Heather Jeffery, Editor of London Pub Theatres Magazine