Cinderella

Fue nuestro primera experiencia de teatro, y ¡nos encantó! Los actores fueron muy buenos, el escenario muy cautivante y la interpretación de la historia fue bastante gracioso y nos cautivó de principio a fin. La orquestra también fue de 100, sin fallos ninguno.

Efectos especiales similares al cine, una version del clasico actualizada. Lógicamente las coreografías, bailes,voces espectaculares. Todos los actores, y músicos, un diez

La obra bien realizada, actores de primera , puesta en escena y coreografías destacables. Lo único que arruinó la experiencia fueron 2 fallas técnicas q pararon la presentación por un total de 20 minutos.

Vi este musical en Broadway en 2013 y está versión me pareció Excelente, con una puesta revisada por el director Anthony Van Laast, que supo trasladar al siglo XX está hermosa historia, llena de canciones preciosas.

Biz TÜRKİYE den ülkenize ve güzel şehriniz Madride geldik . Müzikal etkinliğiniz gerçekttn çok güzel ve harikaydı. Sanatcılar , sahne ve dekor görselleri mükemmeldi biz çok beğendik.

The musical, with a total running time of approximately 2 hours and 25 minutes including a 25-minute interval, proved to be an engaging and high-quality theatrical experience. Despite being performed in Spanish, the show was fully accessible and enjoyable even for non–Spanish-speaking audience members. This was clearly demonstrated by the strong enthusiasm of two girls aged 13 and 17, who enjoyed the performance throughout. The resident director and adaptor, Alejandro De Los Santos, delivered a well-paced and carefully balanced production, successfully alternating moments of lightness and humour with more emotional and reflective scenes. The story remains easy to follow even without full linguistic comprehension, thanks to effective staging, expressive acting, and strong use of physical storytelling. A particular strength of the production is the choreography by associate choreographer Nichola Treherne, which adds energy, elegance, and visual interest. The dance numbers are well integrated into the narrative and contribute significantly to the lively rhythm of the show, making it especially appealing to a younger audience. The set design by Carla Janssen Höfelt deserves special mention. Visually striking and highly functional, it supports smooth scene changes while creating a fairy-tale atmosphere without feeling excessive. The visual elements play a key role in helping the audience understand the story and relationships between characters. The cast delivers consistently strong performances. Paule Mallagarai, as Ella (Cinderella), gives a compelling portrayal marked by both sensitivity and determination. Briel González brings freshness and charm to the role of Prince Topher, making the character approachable and credible. Mayca Teba, as Marie the Fairy Godmother, stands out for her ability to combine authority with warmth. Among the supporting roles, Mariola Peña is particularly effective as Madame, the Stepmother, offering a theatrical and memorable performance. The stepsisters, Gabrielle and Charlotte, played by María Gago and Caro Gestoso, add humour and lightness to the story. The remaining cast members—Eloi Gómez, José Nabar, and Jaume Giró—also contribute positively to the overall balance and quality of the production. In conclusion, this musical is well suited to audiences of all ages and succeeds in entertaining and engaging viewers regardless of language barriers. The combination of music, dance, scenography, and strong performances results in an enjoyable, accessible, and memorable theatrical experience, as reflected in the genuine enthusiasm of the young audience members.