There is no doubt that the true story of Doctor Dillon is an important one to tell, to celebrate the beginnings of something that is now accepted as medically possible, even though there are still differences in how accepted it is societally. The play tells the life story of the first transgender man to undergo medical transition, from an all trans creative team and two trans actors. Cloud Quinn who also directs plays the Doctor Michael Dillon of the title, while Kay Elúvian multi-roles all the other people in the story.

Starting in 1920, Michael Dillon is extraordinarily self-possessed, seemingly undeterred in knowing exactly who he is. His brother has a peerage and there is an entitlement running like a vein throughout the piece that helps to drive him through his life: without this, it’s doubtful as to whether he would have had the self-belief needed to push forward in all the ways he needed to. In direct address to the audience, he’s often quite blunt, simply no-nonsense and bossy; driven to self-improvement on every level possible: physically, transitionally, educationally and in the end, spiritually. He simply decides to become a doctor, and he does so, not even being slightly hesitant that it could be difficult.

There is a really tender moment with the surgeon that makes his medical transition possible, having achieved similar reconstructions after the Second World War. The surgeon is one of the most accepting people of all the characters played by Kay Elúvian, played with an exemplary bedside manner. There is so much packed into this 70 minute production, it would be good in a longer play to explore more of the emotional journey of Doctor Dillon which was very much kept in check: he has a wonderful friendship with a rowing mate, plus a romance which he is ultimately rejected by. While his self-belief is admirable and enviable there were also things that sought to destabilise him, such as his relationship with his non accepting family, particularly his brother. While his story is fascinating, reaching these deeper levels would help a wider spectrum audience connect more with his inner emotional journey.

Directing a play and playing the lead where you are never off the stage is a challenge, and perhaps this could benefit from an outside perspective on some aspects, such as some of the staging where there are gaps in action and an empty stage, or times where the actors are not lit while playing a scene. There were also times where the actors looked nervous in this particular production, which unfortunately feeds audience unease. The radio voice overs are a lovely touch in setting the timing of the years throughout his life, as well as the sad voice over ending. Kay’s different multi-roles are clear and distinguishable although the appearance script wise of Dillon’s love interest is slightly confusing. Kay also shows a lovely natural talent with a variety of well played accents.

While this remains an important trans history play by an all trans cast and creative team which is a remarkable achievement in itself, as a piece of theatre it displays potential for something even greater and longer with some development and deepening emotional exploration in a few areas.

The Actors, 15 February 2025
Part of LGBT History Month
Photos credit: Chris Jepson