I can’t talk, I’m driving.
Yes, I’m coming to pick you up.
Don’t move - and try to act natural.

The audience of 3 met under a lamppost in a grotty carpark. At distance, a car speeded into view. They were invited in. The seats stank of popcorn. Then - a joy-ride through the city, with the Blue Fairy stuck at the wheel, navigated by a spiralling and increasingly lost Pinocchio. The quest - to find the whale - in the Thames, in the Japanese ocean, the Mediterranean Sea. But the whale had always died before they found her, stuffed full of human junk. Eventually, the car choked to a stop and darkness descended around the windows, transforming the car into to the belly of the whale itself.

How do we get out?
We can’t get out. We have to wait. Until we’ve been digested.
And then?
And then, my dear, we shall remain. In the dark.

A multi-layered sound score elevated real sounds of the city. Real news on the radio twisted into a fiction. Familiar cityscapes became the scenography of an epic dark road movie.

Every aspect of the show was designed and created as a collaboration between Gemma and Silvia Mercuriali - Part One of their Berlin, Nevada project.

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The real star of Pinocchio, however, is Dublin itself, made strangely new and wondrous as its skewed landscapes filter through the smudged windows. 

Created, scripted, designed, directed and performed by Gemma Brockis and Silvia Mercuriali
Sound design created with Ben Ringham.
Press photography and images: Britt Hatzius and Susanne Dietz
Technical design by Steve Royle.