Pickled Republic is a surreal cabaret spectacle that ingeniously examines existentialist philosophy through deteriorating pickled produce
Ruxy Cantir’s Pickled Republic, performed at the Traverse Theatre as part of the Manipulate Festival 2024, was a delightfully chaotic, messy, and thought-provoking one-woman show examining the ephemeral and precarious nature of life and humanity’s collective pursuit of purpose and meaning.
The pickle jar setting encapsulated the restrictions and confines of life, as well as the longing to break free from life’s confines. This clever metaphor allowed the audience to join Ruxy inside the jar from the start. One could argue we’re all slowly decaying, wrestling with making peace amid that reality.
The set design centered around a dominating fork, representing our yearning for escape, answers, and freedom. Religious connotations emerged through this symbolism as well. Ruxy established this concept in their simultaneously unsettling and hilarious opening monologue by a dented tomato forgotten at the jar’s bottom. The set enabled Ruxy to seamlessly transform into an array of pickled characters. Each area of the stage became a metaphorical stage of life or perspective. We each confront mortality and time’s limits differently, portrayed genuinely and beautifully through the different pickled vegetable characters.
For instance, Ernest the pickled onion poet represents the immense pressure to produce profound work, however pretentious or hollow it ends up being. A yelp of “Fork!” comes from above almost as a warning perhaps from a fellow forgotten vegetable which panics Ernest, wondering if his time is up.
The simple yet effective costumes closely resembled the vegetables portrayed. The potato and pickle headpieces created a temporarily surreal, philosophical dream state much like the tiredness brought by late nights that bring out our daft sides. The potato’s sparkly dress showed cabaret’s glamour versus the pickle scene’s business attire. This suggested how weekend’s become an escape from dull, exhausting work weeks. Further evidenced in the frenzied pickle scene, where Ruxy slid then raced manically around the jar, wondering if this is it. Their physical exhaustion was palpable, reflecting the grind of balancing life’s demands.
The BSL interpreter was a quirky, constant aubergine companion through the many beginnings and endings of life portrayed. They seemed an angelic guardian, not rotting but steady throughout. Their quirky expressions and interactions with Ruxy lightened the mood and elicited much laughter from the audience.
The tomato scene was poignant. Ruxy happily bounced two tomatoes while seated, until squashing the right one. This repeated with the deceased tomato replaced, the repetition and inevitability creating tense poignancy. Hearing the squelches and seeing the juice made this tactile, playing God until all tomatoes met their end unceremoniously.
Of course, Ruxy was the driving force of Pickled Republic with their dynamic movement and high energy that brought versatility. Their jarring yet endearing expressions, comedic timing, audience interactions, and use of space were phenomenal. Making direct eye contact allowed Ruxy to forge deep connections with each audience member.
In just 50 minutes Ruxy achieved something incredible – every moment riveted attention. Their creative selectivity gave distinct sequences and characters, creating a multi-layered exploration of life’s frustrations and beauty. Overall, a fantastic absurdist commentary, suggesting we enjoy life rather than get bogged down by it. Ruxy’s creation was inspiring, poignant, thought-provoking, funny and simple yet juicy.