When Ivor MacAskill and Rosana Cade staged The Making of Pinocchio a couple of years ago, they used Carlo Collodi’s story as a transgender metaphor. Here in Hull, the approach of playwright Mike Kenny is less overt but the message is the same.
Eliza Blair’s non-binary puppet-child is not only on a voyage of self-discovery but also on a slow-burning mission to be accepted for who they are. “You’re my child and you are real,” says James Clyde’s long-suffering Gepetto at the end. “That’s all that matters.”
