Review: IN CLAY at Signature Theatre

In Clay, is an extraordinary production — a deeply felt, visually stunning, and musically mesmerizing new one-woman musical making its American premiere at Signature Theatre.

In Clay, directed by Kimberly Senior, transforms the overlooked life of real 19th-century French potter Marie-Berthe Cazin into a celebration of artistic perseverance and creative voice. Through fourteen meticulously crafted songs, we witness Cazin’s evolution — her triumphs, frustrations, and eventual reclamation of identity — all embodied with astonishing depth and dexterity by Alex Finke, who delivers a commanding, career-defining solo performance, truly a tour de force.

Finke fills the room making the small stage seem much bigger than its spare dimensions; she has such presence it feels like much more than a single actor sharing the stage with a vibrant four-piece band. Finke inhabits Marie-Berthe completely, yet also clearly conveys a cast of supporting characters including the artist’s friend Henrietta Tirman, Marie-Berthe’s husband and fellow potter Michel Cazin, and her mentor Jean-Charles Cazin. Finke's vocal range is dazzling, moving from raspy or belting to ethereal high notes. She is remarkably expressive; an arched eyebrow, a small frown, a pause, an intake of breath are precisely calibrated to convey her character's intent. Finke is not afraid to break the fourth wall to engage with the Signature audience and draw us in, invite us along, make us understand.

In Clay writers Jack Miles (music and lyrics) and Rebecca Simmonds (book and lyrics) are a strong partnership, merging the unique talents and strengths of each. Jack Miles pulls in the smoky, sultry cabaret style of the early 1900s drawing upon Jazz Manouche, a vibrant blending of Romani folk music with American swing. In Clay often incorporates patter lyrics featuring fast, witty, complex rhymes requiring top vocal agility. Alex Finke tackles these skillfully, with clear, bell-like tones and a wry sense of humor.

Four on-stage musicians weave the unique sound and add to the intimate, cabaret vibe. Matt Herbert (music director/piano) also created additional music for the production and was responsible for the arrangements and orchestrations. Madalyn Navis on violin, Jonny Marques on guitar and Joanna Smith on stand-up bass create the distinctive and memorable music.

Director Kimberly Senior and the design team play with color, light, detail and texture to create a production where art and artistry are central. And, there is a specificity to detail that places us in France as the Belle Époque 1890s gave way to a new century with the rise of modern art and the early days of The Great War.

Tony Cisek’s scenic design puts Marie-Berthe’s pottery wheel front and center. Wonderful details like the kiln, a deep sink with running water, the shawl-draped piano, shelves of pottery and mementos share important details of Marie-Berthe’s world. Cisek’s scenic design is thoughtfully designed and multi-functional – never have I seen movement and choreography knit so seamlessly and creatively with the scenery. The studio’s walls were a wash of rich color that Colin K. Bills’ evocative lighting design enhanced. The lighting changes were subtle nods to changes in time or emotion.

Shahrzad Mazaheri’s costume palette includes beautiful earthy tones of rust, peach, plum and evergreen – reinforcing the connection that Marie-Berthe references between clay (her artistic medium), and earth, life and matter. The costume has nods to tradition but with the choice of pants and other details we see Marie-Berthe’s modernity and originality for her time.

Eric Norris’ strong sound design is an essential part of this production’s success, adeptly balancing a small band, an actor using dialect, and the ambient sounds of the production.

Amanda Quaid is the production’s dialect coach, successfully ensuring Marie-Berthe’s French-accented English is clear and comfortable and uncontrived. Jack Dorsey’s highly detailed and specific props are an integral part of the production. Also, a nod to pottery consultant Jon Kerr for honoring the artistic discipline so central to the script.

Washington audiences, take note: we're getting first look at something remarkable. Signature Theatre's American premiere of In Clay belongs in the company of Dear Evan Hansen, Come From Away, Strange Loop and Next to Normal — those lightning-in-a-bottle productions that electrified our local stages before capturing national attention. Don’t miss this special opportunity.

In Clay is an affecting, engaging, and utterly unique theatrical experience — unlike anything on stage now. It is the kind of intimate, powerful, essential theater that reminds us why we go to live performances: to witness extraordinary artists sharing powerful stories that deserve to be heard.

Running Time: 100 minutes with no intermission

In Clay by Rebecca Simmonds (book & lyrics) and Jack Miles (music & lyrics), directed by Kimberly Senior, with additional music, music supervision, arrangements and orchestrations by Matt Herbert, is presented by Signature Theatre. It is performed at Signature’s ARK Theatre, 4200 Campbell Ave., Arlington, VA 22206. The production runs through February 1, 2026. For tickets and schedule, accessible performance information, special events, attendance policies and further information, visit the company’s website.

Alex Finke as Marie-Berthe Cazin (Sarah Anne Sillers is understudy).

Musicians: Matt Herbert (Music Director/Piano), Madalyn Navis (Violin), Jonny Marques (Guitar), Joanna Smith (Bass).

Production Designers: Colin K. Bills (Lighting Design), Tony Cisek (Scenic Design), Shahrzad Mazaheri (Costume Design), Eric Norris (Sound Design).

Photos by DJ Corey Photography.