Having been treated to a beautiful exhibition of exquisite ceramics by female artists in the adjacent studio (still smelling of fresh white paint), we nestle comfortably into a cosy corner of her rather shambolic potter’s studio as she enthusiastically unpacks her favourite pieces - shelves of detritus, a whisk, a pudding bowl, books and paintings and of course, her creations. Rachael Ryan’s beautiful immersive set embraces all of our senses, with onstage audience seating, Parisian ensemble and a large potter’s wheel taking centre stage, paired perfectly with Grace Taylor’s intimate and captivating staging.

We follow the true story of Marie-Berthe Cazin (Rosalind Ford), a French ceramicist in the 1930’s awaiting her now acclaimed childhood friend - Henrietta Tirman - as she contemplates ‘what makes an artist successful?’ Is it the beauty of learning, creating and finding a passion, or the fame and fortune of being recognised? She ponders what could have been as she sees the parallels between her and Henrietta. She takes us on a journey as she reminisces on her creative process from the first time she touched clay, to someone wanting to buy her pieces, to finally recognising her own worth.

Ford's portrayal of Marie-Berthe is nothing short of remarkable. Her storytelling skills are unmatched, with a blend of animation, quirkiness and fervour, Ford effortlessly guides the audience through her introspective journey. Her ability to comedically embody multiple characters including Marie-Berthe's strikingly glamorous best friend Henrietta and pompous mono-syllabic husband Michel, showcases her versatility as a performer. The addition of the clay being crafted onstage, as water is flung about the stage, is absolutely thrilling to watch; you see the infectiously passionate ‘spark’ as Marie falls in love with clay. And it is in the little things: her quaint little aside remarks, her wonderful French nonchalant, haughty expressions and furrowed brow that truly makes her come alive.

The script, based on a true story, is a testament to the playwright Rebecca Simmonds’ craftsmanship. It delicately explores the dichotomy between the intrinsic joy of creation and the allure of external validation. Through Marie-Berthe's musings, the audience is prompted to ponder whether true success lies in the act of creation itself or in the recognition and fame that may follow.

Jack Miles’ mesmerising soundtrack immerses the audience in the ambiance of 1930s France. The string quartet creates an evocative atmosphere, while the vocals add depth and emotion to the narrative. The juxtaposition of fast-paced and slow-paced melodies mirror the ebb and flow of Marie-Berthe's artistic journey. The music has similarities to Amelie and The Last Five Years, with standouts including ‘Spark’, ‘Talent’ and ‘See-through’.

At its core, In Clay is a celebration of passion and the human spirit. Blending lyrical storytelling with poignant questions around creativity, it reminds us that true success is not measured by external accolades, but by the joy and fulfillment found in the act of creation itself. Through Rosalind Ford's outstanding performance and the play's thought-provoking narrative, In Clay leaves a lasting impression, urging audiences to reflect on the essence of artistic expression and the pursuit of one's true calling.

It is an instant classic. This musical has a bright future and shines a light on all artists everywhere.

***** Five stars

Reviewed by: Marina Holmes Smith

In Clay plays at Upstairs at the Gatehouse until 7 April, with further information here.