Two performers: Rosana Cade (they/them) Ivor MacAskill (he/him), stand on a stage draped in bright red fabric. Rosana (on the left) is a white non-binary person with short hair and Ivor (on the right) is a white man with short hair and ginger stubble. They wear fake wooden tracksuits and caps with real wooden appendages protruding from them. Rosana stands facing us, with a quizzical expression on their face. A wooden appendage protruding from Rosana’s nipple socket connects to Ivor’s arse socket. Ivor is in profile, facing away from Rosana and seems to be frozen mid-walk.
A stage immersed in pink and blue light. Ivor MacAskill stand on the right. Ivor wears a brown costume with a wooden look and a cap on his head. Ivor looks confused and holds up two wooden branches with both hands. Rosana Cade wears the same costume can be seen in the background. Rosana is standing in front of a TV that shows a live image of Ivor, in which he covers his left ear with one hand. With their right hand, Rosana holds a microphone with a plush rectangular headpiece towards their mouth. They are wearing a black apron around their hips that hold wooden sticks in different lengths.
A stage covered in a brown fabric with a wooden look. On the right are two wooden chairs as they are on a film set. In the left chair sits Ivor MacAskill. Ivor is wearing a brown costume consisting of baseball cap, sweater and pants with a wooden look and white socks. In his right hand, Ivor holds a microphone with a plush headpiece and looks up at the person standing in front of him on the left. The person is wearing a loose tracksuit in a rich red tone. The face is not visible, because the person has a large wooden box on their shoulder, which has the shape of a camera.

The Making of Pinocchio

Cade & MacAskill


The Making of Pinocchio is a true tale of love and transition told through the story of Pinocchio. Set in a fictional film studio, you are invited to go behind the scenes of Cade & MacAskill’s creative process and their relationship, and question what it takes to tell your truth. Artists and lovers Rosana Cade and Ivor MacAskill have been creating The Making of Pinocchio since 2018, alongside and in response to Ivor’s gender transition. Their tender and complex autobiographical experience meets the magical story of the lying puppet who wants to be a ‘real boy’. The performance constantly shifts between fantasy and authenticity, humour and intimacy on stage and on screen.


Rosana Cade (they/them) and Ivor MacAskill (he/him) are two queer artists based in Glasgow, Scotland. Their work, together and individually, straddles the worlds of experimental contemporary theatre, live art, queer cabaret, and film. Their collaboration is born from a shared love of subversive humour, experimentation with persona and text, playful theatricality, and the joy they find in improvising together. Together with Tim Spooner they create strange, rich aesthetic worlds on stage, enhanced by unique sonic elements from their ongoing collaboration with sound artist and designer Yas Clarke.

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In DGS: The Making of Pinocchio

Production credits

Direction Rosana Cade, Ivor MacAskill Performance Rosana Cade, Ivor MacAskill, Jo Hellier, Tim Spooner, Ray Gammon Set Design, Requisites & Costume Design Tim Spooner Assistant Stage Manager Ray Gammon Sound Design Yas Clarke Camera Jo Hellier Light Jo Palmer Cinematography Kirstin McMahon, Jo Hellier Produced by Dr. Nora Laraki for Artsadmin Creation produced by Mary Osborn for Artsadmin Production Manager Sorcha Stott-Strzala Outside Eye Nic Green Movement advisor Eleanor Perry Relighter Ruth Green Subtitling Collective Text; Emilia Beatriz, Daniel Hughes with Rosana Cade, Yas Clarke, Ivor MacAskill, Jamie Rea Subtitling Design Yas Clarke, Daniel Hughes Photo (1) Tiu Makkonen Photo (2) Manuel Vason Photo (3) Christa Holka 

A Co-Production by Fierce, Kampnagel, Tramway & Viernulvier supported by Attenborough Centre for the Creative Arts, Battersea Arts Centre, LIFT and Take Me Somewhere. Produced by Artsadmin. Funded by Creative Scotland, Arts Council England and the Rudolf Augstein Stiftung. With the support of The Work Room/Diane Torr Bursary, Scottish Sculpture Workshop, National Theatre of Scotland, Live Art Development Agency, Gessnerallee, Mousonturm, Forest Fringe, West Kowloon Cultural District & LGBT Health and Wellbeing Scotland.