There are stories that do not wear out. They have been with us since we can remember, they console us on gray days and make us dream of a “happily ever after.” Cinderella is one of those stories. But what now arrives at the Teatro Coliseum in Madrid is not a simple repetition of the same old fairy tale. It is a musical that, with the magic of Broadway and a very generous dose of freshness, aims to surprise us, excite us and make us reflect. Because yes, this Cinderella has much more than a lost shoe.
From television to the stage: the journey of a legend
Few people remember it, but Cinderella, as covered by Richard Rodgers and Oscar Hammerstein II, was born as a musical for television. The year was 1957 and the legendary Julie Andrews was in charge of giving life to a Ella full of light. That television special was watched by more than 100 million people, which is no small feat, even by today’s standards.
Since then, the story has gone through different adaptations, including an unforgettable version in 1997 with Brandy and Whitney Houston that marked a generation. But curiously, it was not until 2013 when this version officially premiered on Broadway, with a new book by Douglas Carter Beane. And it is precisely this reinvention that now lands, for the first time in Europe, in the Spanish capital.
A feminist Cinderella? Well… more or less
In this adaptation, Ella is not just a sweet young woman who cleans ashes while dreaming of a prince. She is a woman with her own voice, with ideals, with a determination that goes far beyond clichés. He has a vision of the world that inspires Prince Topher himself to leave his palace bubble and look at the injustices of the kingdom with different eyes.
This new approach not only makes the plot more interesting, but also connects with the values of a generation that is no longer satisfied with seeing princesses waiting to be rescued. There is not even a hint of passivity here. She acts. She decides. She transforms.
And that, dear readers, is revolutionary. Because sometimes the greatest act of rebellion is believing in yourself when the world insists that you are worthless.
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A musical full of soul, orchestra… and heels
If there is something that characterizes this production, it is ambition. We are not talking about a modest setup. We are talking about a show with one of the largest orchestras ever seen in a musical in Madrid. And that shows. From the first bars, Rodgers’ music gets under the skin, making the theater vibrate with that unmistakable sound of 1950s Broadway.
Xavier Torras, musical supervisor, makes it clear: “It’s not just about being faithful to the original. It’s about transmitting to the Spanish public the same emotion that the American public felt decades ago.” A difficult challenge. But when the notes sound live and the costumes shine under the spotlight, the magic does its work.
Let’s talk about the team: talent in abundance
The direction and choreography are by the multi-award-winning Anthony Van Laast, responsible for hits such as Mamma Mia!, Tina or Sister Act. At her side, associate choreographer Nicola Treherne, with an equally impressive career. And in the resident direction, the Spaniard Alejandro de los Santos, who has been in charge of adapting the text into Spanish with a sensitivity that balances fidelity and closeness.
The scenery, costumes, lighting and even the stage illusions (yes, there is real magic on stage!) are designed by an international team that has set the bar very, very high.
And no wonder. Because adapting such a well-known classic to the local audience is like walking a tightrope: you need balance, respect, but also creativity.
A story that sounds… current
The most interesting thing about this Cinderella is that, although it respects the structure of the original story, it introduces themes that resonate with our reality: social justice, personal autonomy, sisterhood, compassion… Kindness, in this story, is neither naive nor weak. It is a transformative force.
And it’s not just about big speeches. Each character—even the secondary ones—has a surprising development. From Gabrielle, the good stepsister who hesitates between pleasing her mother or following her conscience, to Jean-Michel, a social activist who fights for the rights of the people.
Who knew that a fairy tale could talk about revolution without losing its sweetness?
The creation process: behind the curtain
The assembly of this production has been long and demanding. The auditions in Madrid brought together artists of an impressive level. Van Laast confesses that, after working in the US, he was surprised by the Spanish talent: “I didn’t expect such a high level. It has been a pleasant surprise.”
Choreography has been another of the great challenges. The songs, many with long dance fragments, require significant technical mastery. But also scenic sense. It is not about moving the body for the sake of moving it. Every step counts something. Each gesture adds to the narrative.
And of course, all of that has to work with the costumes, the scenery, the lights and… the actual space of the theater. What is rehearsed in a room with tape on the floor becomes, in the Coliseum, a three-dimensional reality with furniture, bulky suits and stairs that must be climbed without tripping.
But… is everything so pretty?
Well, let’s get a little critical, because not everything can be pastel. Is it enough to modernize a traditional tale to turn it into an empowering story? Doesn’t this new Cinderella run the risk of putting on “pop feminism” without really touching the roots of the myth? There are those who could argue that, despite the changes, the structure continues to reproduce a traditional romantic narrative, with a happy ending included and a prince as a prize. And although Ella’s character is stronger than ever, not everyone will be satisfied with this “light” reformulation of patriarchy disguised as a waltz.
But as always, it depends on the lens through which you look. And also how seriously we want to take the stories.
What you didn’t know you were expecting
One of the greatest achievements of this Cinderella is that it achieves that rare and precious thing: surprising without betraying. Respecting the heart of history while offering us new ways to understand it.
As Alejandro de los Santos says: “What the public does not expect is to rediscover something they think they already know.”
And that’s exactly what happens. We left the theater with the usual smile, but with new questions in our heads. What does it mean to have hope today? What does it mean to fight for justice from tenderness? How much power is there in believing in yourself, without having to turn everything into a battle?
Why do you have to see it?
Because it is a musical made with care, talent and vision. Because it mixes the classic with the contemporary in a natural and vibrant way. Because it is a complete sensory experience: the live music, the dances, the costumes, the light effects… everything conspires to envelop you.
But above all, because this story has something that we all need from time to time: a spark of magic in the midst of chaos.
And if you have already seen a thousand versions of Cinderella… perfect. This will make you see them all with different eyes.
A tale with a future
The new Cinderella is not just an artistic bet. It is also a declaration of intentions about where musical theater in Spain can go: brave productions, with soul and with one foot in the past and another in the present.
Madrid thus becomes a European reference point for the world premiere of this gem. And it’s not a coincidence. The public is ready. The talent is here. And the story… well, the story still has a lot to say.
