Gaiety Theatre

Throwing off constraints is one thing; using new-found freedom is another. The personal histories revealed by the cast of Gardenia– both in the programme notes and on-stage – consist of meandering journeys to a comfort- able acceptance of who they. But the nine performers, including seven transvestites and transsexuals in their 50s and 60s, never achieve a carefree expression of their identity.

Created by Vanessa Van Durme and directed by Alain Platel and Frank Van Laeke, Gardeniais based on the Spanish film Yo Soy Asíabout forced closure of a cabaret theatre in Barcelona. After a wayworn rendition of Somewhere over the Rainbow and a minute's silence "for those who are no longer with us", Van Durme introduces the dull-looking shirt-and-tied cast by their stage names, like " Lily F**k-Me-Silly".

Later, those characters emerge in splendid finery – frocks, wigs, make-up and false eyelashes – but remain subservient to our gaze: “I’m dedicated to you. Thank you for coming,” says one performer. Two other characters, described as a “real woman” and a “young man”, display similar conflicts around personal identity and societal acceptance, played out in a Pina Bausch-like physical duet.

Supporting the action is a multicoloured soundscape by Steven Prengels that contains both luvvy melodrama and genuine foreboding, but also never achieves outright abandon. Even the gradual and wonderfully choreographed pupation from dour suits to glamorous frocks is held in check by the unquickening rhythm of Ravel's Bolero.

The directors reveal the personal stories through cliche rather than documentary. This not only makes for a more entertaining night out, but also adds another layer of possible unreliability, as genuine emoting sits alongside fake applause and lip-syncing.

Ends tonight