The Vault Festival is a great antidote to the cold winter months. Unveiling new and emerging talent, the festival brings us hundreds of live theatre, comedy, drag, cabaret and immersive shows in the graffitied caverns of London’s Waterloo. 

If In Clay is anything to go by, the festival is going to be a success. This new one-woman musical set in the suburbs of 1930s Paris takes place in an artist’s kitchen, cluttered with colourful canvasses, clay pots and vases. As Marie-Berthe Cazin (Rosalind Ford) awaits a visit from an old friend, a celebrated artist, she reminisces about the past and we learn about her life, love and loss. 

The music (Jack Miles) combines musical theatre with jazz. A four-piece band led by Matt Herbert sits to the left of the kitchen, creating intimate numbers. The lyrics (Miles and Rebecca Simmonds) cleverly play on words; no mean feat with Marie-Berthe’s artistic life of throwing clay and painting as subject matter. 

Rosalind Ford’s performance is charming and funny. Opening with “my milkman is my lover”, we are instantly comfortable in her company. Equally accomplished in acting and song, Ford’s scat singing is as impressive as her diction, so we easily follow the story through a score that effortlessly blends into the book (Simmonds). 

Ford’s storytelling is so full of heart that we are immersed in the joy she felt being taught by the great Jean-Charles. The book’s detailed descriptions are delicious material for Ford’s imitation of other characters. We can picture Jean-Charles as an inspiring influence and the intensity of her experience in his art classes. Whilst the intricacy of her artistic journey is niche, reflections of how she has changed and what might have been is relatable because it’s ordinary. But even during the less remarkable parts of the story, Ford is endearing and keeps us interested for 60 minutes. We want to know why she is in this kitchen, when she showed so much promise. 

Grace Taylor’s direction uses the cosy setting of the Cage to create familiarity when telling a personal tale. Warmly lit by Tom Turner, Ford’s expressions are visible to everyone in the theatre. The Vaults sit below the railway and by some happy accident, the rumbling noise of the carriages above add to the intimacy of being enclosed in a small space. 

This heart-warming yarn ends on a high note, as Marie-Berthe reflects beautifully on what constitutes a successful artist, is it fame and fortune, or the achievement of creation? Something we ponder after the leaving the theatre. 

The closing number, ‘What’s in Between’, is good enough to stand alone from the score, which in its entirety is easy to listen to in the hands of these talented musicians and Ford’s vocals. 

In Clay is a delightful way to spend an hour. The book, lyrics and music are strong. It would work in a bigger venue, although it might lose the personal touch.  

Catch In Clay if you can, it’s not on for long… or brave the cold and see something else at the Vault Festival. There’s something for everyone, from family shows to late night entertainment and is well organised. It’s worth a visit for the venues alone. Creativity flows through the tunnel and oozes out of the caverns. 

**** Four stars

Reviewed by: Victoria Willetts

In Clay plays at the Vault Festival, at Cage, the Vaults, Leake Street, Waterloo, London until 28 January 2023, with tickets available here.