The Making of Pinocchio
A Tale of Love and Transition
From the moment he comes to life in Geppetto’s workshop, Pinocchio is driven by the desire to become a “real boy”. In The Making of Pinocchio, the wooden marionette’s quest for identity becomes the perfect guise for Rosana Cade and Ivor MacAskill to explore the latter’s gender transition. The creative duo, who are also a couple in real life, cleverly and candidly transform the puppet’s adventures into a fabulously inventive film shoot that reflects a unique—even magical—experience of the world.
Moving between personal testimony and formal experimentation, full of hilarious and heart-breaking, tender moments, The Making of Pinocchio draws us into a fantastic universe where our perceptions are constantly distorted and dismantled. Using what’s happening on stage to create new possibilities on screen, Cade, MacAskill and their collaborators deploy a playful world of images and sounds in a theatrical language that is very much their own.
Produced by Artsadmin
Created by Rosana Cade + Ivor MacAskill
Performed by Rosana Cade + Rachel Gammon + Jo Hellier + Ivor MacAskill
Written by Rosana Cade + Ivor MacAskill + Jamie Rea
Set, Props and Costume Design Tim Spooner
Sound Design Yas Clarke
Camera Jo Hellier
Lighting Design Jo Palmer
Video Jo Hellier + Kirstin McMahon
Producer Dr. Nora Laraki + Mary Osborn – Artsadmin
Production Manager Sorcha Stott-Strzala
Assistant Stage Manager Rachel Gammon
Outside Eye Nic Green
Movement Advisor Eleanor Perry
Subtitles Rosana Cade + Collective Text + Ivor MacAskill + Jamie Rea
Subtitles preparation Yas Clarke + Daniel Hughes
Surtitles translation Luba Markovskaia
Commissioned by Fierce Festival (Birmingham) + Kampnagel International Summer Festival (Hamburg) + Tramway (Glasgow) + Viernulvier (Ghent)
With the support of Attenborough Centre for the Creative Arts (Brighton) + Battersea Arts Centre (London) + LIFT (London) + Take Me Somewhere (Glasgow) + Creative Scotland + Arts Council England + Rudolf Augstein Stiftung
Development support from The Work Room – Diane Torr Bursary (Glasgow) + Scottish Sculpture Workshop (Aberdeen) + National Theatre of Scotland (Glasgow) + Live Art Development Agency (London) + Gessnerallee (Zurich) + Mousonturm (Frankfurt) + Forest Fringe + West Kowloon Cultural District (Hong Kong) + LGBT Health & Wellbeing Scotland (Glasgow)
Premiered at Kampnagel International Summer Festival, Hamburg, on May 12, 2022
Presented in association with Conservatoire d’art dramatique de Montréal
Written by Sara Fauteux
Translated by David Dalgleish
About the artists
Rosana Cade + Ivor MacAskill (Glasgow)
Residents of Glasgow, Scotland, Rosana Cade and Ivor MacAskill are both a couple and an artistic duo. Together, they invent offbeat worlds by combining various forms of expression, including video, cabaret, performing arts, children’s performance, and site-specific and socially engaged practices.
Their work is characterized by its keen sense of exploration, subversive humour, and boundless creativity. Their long-lasting collaborations with designer Tim Spooner and sound artist Yas Clarke adds unique visual and sonic elements to their work.
Since 2014, they have created two art films, Taps Aff and Presenting Our Selves, and two shows, MOOT MOOT and The Making of Pinocchio, while developing a facilitation practice focusing on LGBTQIA+ culture and rights. Cade & MacAskill also lead the experimental music group Double Pussy Clit Fuck.
As a solo artist, Cade is known for their performances for one-person audiences, such as Walking:Holding, which has been presented in over 40 locations during the past ten years, including Montreal’s Théâtre Prospero last fall. MacAskill, meanwhile, has distinguished himself with his innovative works for children and youth revolving around questions of gender and sexuality.
“What results can sometimes be ravishingly beautiful. […] While there’s plenty of light and humour in this show, there’s plenty that is profound too.”
Rachel Halliburton, The Arts Desk (United Kingdom), 2022-07-02
« On ne finit jamais d’éplucher les analogies et les lectures possibles de ce spectacle qui brille par sa sincérité et son intelligence. […] J’ai pleuré ces larmes qui ne coulent que devant la beauté. »
Léa Malgouyres, I/O Gazette (France), 2022-07-07
“The Making of Pinocchio overruns with DIY ingenuity. […] I feel invited to see beneath these complex layers of performative irony, allegory and reverie, is the beautifully commonplace reality of a relationship.”
Ben Kulvichit, Exeunt (United Kingdom), 2021-06-03