The Last Time I Saw Caileigh – Transfixed and lost in this world.

This morning, the Tories proudly proclaimed that Sunak knows what the definition of a woman is, once again stoking an anti-trans culture war in the run up to the UK’s general election. So fearful of losing, he and his party resort to foul play, reaffirming that it is the right of the state to define its citizens and not the citizens themselves.

You might think it an odd way to begin a review of a piece of contemporary theatre, but I’m sure you’ll understand where I’m coming from shortly, especially as we enter Pride month and what should be a celebration of all things queer.

For transparency, I received one complimentary ticket to tonight’s production of ‘The Last Time I Saw Caileigh’ at The Cockpit in Marylebone – thank you.

In an undisclosed, but within presumably recent living memory, we first lay eyes upon our protagonist, Caileigh, and their fictional partner Faruk. They’re gossiping about current affairs, the Queen’s Platinum Jubilee gives us a rough idea of timeline and a piece about trans animals, and we’re quickly at the heart of this piece: what does it mean to be transgender or – more aptly in this story – non-binary in modern Britain, and perhaps more broadly in modern western society.

It’s a question that’s asked a lot by those within the campaign for LGBTQ+ liberation, and one that receives little answer it must be said from either of Britain’s dominant political parties (and their leadership). It is a question pertinent to the very existence and livelihoods of many within the queer community.

The cast – Caileigh, played by Victoria Sasso (they/them); Faruk, played by Harun Ćehović (he/him); Maureen, played by Tiffany Elana King (she/her), and; Maxime, played by Matthias Moret (he/they) – poses an incredible energy, giving this difficult narrative a frank, honest and raw performance. They are not afraid to explore difficult, harrowing interactions, whilst captivating the audience entirely.

When Caileigh goes missing, Faruk, Maureen and Maxime come together to try and piece together what happened. We are transported seamlessly from where they’re investigating into memories that build up to a crescendo, every reflection portraying more complex, strained and difficult relationships.

Overall, the play has good pace, lingering in just the right moments, and sweeping us away in others. I found myself transfixed and lost in this world, yearning for resolution as we explored the complexities of an individual coming to terms with their identity, turning to their family (chosen and otherwise) who, due to their own lived experiences, struggle to realise this new chapter.

This piece surprised me in many ways, and in particular, the fact that it has been co-created. Often, I’ve seen co-created pieces of theatre that sacrifice in order to give equal spotlights on too many competing narratives. This piece, ‘The Last Time I Saw Caileigh’ sacrificed nothing, and in timely manner, called to light a very pressing ‘question’.

Because regardless of your view on the so-called and completely manufactured ‘trans debate’ – and I presume that by reading this, naturally you’ll defend the rights of our trans and non-binary siblings – the truth is that this is a production that the UK needs right now.

My hope is that this production reaches those within the LGBTQ+ community who think that the fight for trans and non-binary liberation is not worth fighting for, and for those outside who wish to apply their definition of sex and gender onto others like fundamentalist religious preachers. Alas, I think that leaves a lot to be desired.

But that shouldn’t stop you going to watch ‘The Last Time I Saw Caileigh’. It played for one night at The Cockpit, but transfers to Baron’s Court Theatre, running Tuesday to Saturday at 19:30 from 11 until 22 June 2024.