Check out what the reviewers are saying about Ruxy's work


- on Bête Noire at Clown Cabaret Special Edition for manipulate Visual Theatre Festival 2019, Traverse Theatre, Edinburgh

Ruxandra Cantir was born in Romania, trained in the US and now lives in Scotland – but it doesn't matter where she is geographically, her home is on stage. Cantir's character, 'Parr' is too sensitive for this big, noisy world, and just wants to be left alone. 

She enters the space tentatively, an aghast white face communicating everything we need to know about her inner torment - and when a telephone bursts into life, the harsh ringtone nearly finishes her off. That's pretty much all that happens in this short but sweet sketch, and yet Cantir delivers a masterclass in how poignancy and hilarity can exist hand-in-hand.

Kelly Apter for The List, 15 February, 2019

… and…

Bête Noire from Ruxandra Cantir: a physical piece about frustration, mystery and comedy. A phone is ringing and the clown is intrigued. This curious performance ends with a horrific twist that is delivered with style and humour.

Steven Fraser for The Wee Review, 12 February, 2019


- on a Storytelling short piece Ruxy did at the Edinburgh Fringe on August 20th, 2017 at Summerhall, Edinburgh

There was also a short piece from Moldovan physical performance artist Ruxy Cantir on the practice of “funeral keening”; being hired to wail and mourn at funerals, a fascinating insight for cosseted Fringe goers in search of eye-opening experiences.

David Pollock for The Independent, August 21, 2017

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- on the Pickled Tomato (excerpt from Pickled Republic, played at the Clown Cabaret Scratch Night on June 3rd, 2017 at Assembly Roxy, Edinburgh)

Luckily, that’s what scratch nights are all about: the chance for performers to test things out, seeing what works and what doesn’t. Perhaps unsurprisingly, the pieces that proved the most satisfying were the ones which already fused several disparate elements: Ruxy Cantir’s monologue for pickled tomato, coupling character contortions with a range of facial expressions that Chaplin would envy; or Lewis Sherlock’s abstract, lightbulb-carrying clown in a trenchcoat, managing that Pinteresque trick of being absurdly hilarious and menacing at the same time. Pieces like these put the scratch in context and, more importantly, capture the ineffable nature of clowning – the whole point of which lies in qualities that exist solely in the moment between an audience and a performer onstage. Seeing how it all develops – and gradually begins coming together – is a treat worth experiencing.

Marc David Jacobs for The Fountain, June 16, 2017

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- on Ruxy's character Parr (played at Clown Cabaret Scratch Night on September 30, October 1, and 2, 2016 at Tron Theatre, Glasgow)

But it's Ruxy Cantir, who moves with the grace of a silent movie star, all eyes and fidgety digits who provides the pathos. Her Parr character, afraid of everything, is an androgynous porcelain clown - easily broken, oddly beautiful.”

The List writer Lorna Irvine for The Tempohouse, October 5, 2016

- on Ruxy's character Gregor J. Everest - the Mountain Conqueror (played at Clown Cabaret Special Edition for SURGE Fest 2016 on July 31, 2016 at Tron Theatre, Glasgow)

Ruxy Cantir's character Gregor J Everest – very much the bald-pated grotesque of tradition – captured that essence of try-fail-try again that (as Becket also appreciated) sees poignancy and hilarity go hand-in-hand up the rocky mountain slopes of humanity.

Mary Brennan for Herald Scotland, August 1, 2016

- on Ruxy's first public presentation of an excerpt from Pickled Republic - work in progress (played as part of the Conflux PITCH evening on March 10, 2016 at CCA Glasgow)

Ruxy Cantir's Pickled Republic is clearly within the same bouffon tradition as Eric Davis' [Red Bastard] monstrous creation... Her character is witty, engaging and playful: even when she contorts her body to represent her aged nemesis, she is charming and only slightly terrifying.... More Cantir, please!

The List Theatre Editor Gareth Vile for Vile Arts, March 10, 2016