{"id":7797,"date":"2026-04-08T17:27:18","date_gmt":"2026-04-08T15:27:18","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=7797"},"modified":"2026-04-08T17:35:07","modified_gmt":"2026-04-08T15:35:07","slug":"cabaret-kit-kat-klub-musical-inmersivo-madrid","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/cabaret-kit-kat-klub-musical-inmersivo-madrid\/","title":{"rendered":"Cabaret en el Kit Kat Klub: 5 razones para ver el musical inmersivo en Madrid"},"content":{"rendered":"

LETSGO reinterpreta el cl\u00e1sico en un formato inmersivo. Aqu\u00ed tienes los 5 motivos por los que no deber\u00edas perderte esta producci\u00f3n.<\/h3>\n

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 <\/p>\n

Cabaret<\/em><\/a> <\/strong><\/span>es, sin duda, uno de los musicales m\u00e1s versionados del g\u00e9nero. La pregunta, a estas alturas, ya no es c\u00f3mo representarlo, sino c\u00f3mo reinterpretar un t\u00edtulo profundamente arraigado en el imaginario popular. A lo largo de los a\u00f1os, distintas producciones han explorado diferentes grados de fidelidad, estilizaci\u00f3n y carga pol\u00edtica, con resultados desiguales.<\/p>\n

La propuesta de LETSGO<\/a><\/span><\/strong>, sin embargo, busca indagar en las nuevas formas del lenguaje esc\u00e9nico. Su llegada al UMusic Hotel convierte el Kit Kat Klub en algo m\u00e1s que un espacio esc\u00e9nico y plantea un enfoque m\u00e1s arriesgado, que tensiona los l\u00edmites tradicionales entre actores y p\u00fablico hasta diluir, en la pr\u00e1ctica, la cuarta pared.<\/p>\n

Lejos de plantearse como una reposici\u00f3n al uso, el montaje apuesta por un formato inmersivo que trastorna la l\u00f3gica habitual de recepci\u00f3n. El espectador no accede \u00fanicamente a una representaci\u00f3n, sino a un entorno construido que remite al Berl\u00edn de entreguerras y que despliega su narrativa m\u00e1s all\u00e1 del escenario. En este contexto, elementos como el preshow, la disposici\u00f3n del espacio o incluso la posibilidad de consumir durante la funci\u00f3n forman parte estructural de la experiencia.<\/p>\n

Estas son cinco razones para entender por qu\u00e9 esta versi\u00f3n de Cabaret<\/em> opera en un registro distinto y desde qu\u00e9 lugar conviene mirarla.<\/p>\n

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\"\"<\/p>\n

Abril Zamora como Emcee.<\/p>\n

 <\/p>\n

1. Porque no se entra a un teatro, sino a una \u00e9poca<\/strong><\/h4>\n

Uno de los desplazamientos m\u00e1s evidentes de esta propuesta tiene que ver con el modo de entrada. El acceso al Kit Kat Klub es el primer dispositivo narrativo al que se enfrenta el espectador.<\/p>\n

Antes de que la funci\u00f3n comience en sentido estricto, el p\u00fablico ya ha sido incorporado a un entorno que remite al Berl\u00edn de entreguerras y su vida nocturna.<\/p>\n

En este punto, el preshow act\u00faa como una extensi\u00f3n del propio montaje, donde la m\u00fasica en directo<\/a><\/span><\/strong>, la circulaci\u00f3n de los int\u00e9rpretes y la activaci\u00f3n del espacio contribuyen a establecer un c\u00f3digo de relaci\u00f3n distinto. La experiencia va inici\u00e1ndose de forma progresiva, casi imperceptible.<\/p>\n

Este planteamiento tiene una consecuencia clara: el espectador deja de situarse en una posici\u00f3n externa. Para cuando la narrativa principal se articula, ya no observa desde fuera, sino que ha sido integrado \u2014aunque sea de manera parcial\u2014 en la l\u00f3gica del Kit Kat Klub.<\/p>\n

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\"\"<\/p>\n

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2. Porque el Kit Kat Klub es un espacio activo<\/strong><\/h4>\n

El Kit Kat Klub es el tel\u00f3n de fondo que condiciona la forma en la que se desarrolla la experiencia. La disposici\u00f3n del espacio, la cercan\u00eda con los int\u00e9rpretes y la ausencia de una separaci\u00f3n clara entre escena y p\u00fablico modifican la percepci\u00f3n habitual del hecho teatral.<\/p>\n

En este contexto, elementos como la posibilidad de consumir durante la funci\u00f3n \u2014cena o bebida\u2014 no operan como un a\u00f1adido externo, sino como parte del propio dispositivo. La experiencia no se organiza \u00fanicamente en torno a lo que ocurre en escena, sino tambi\u00e9n en torno a lo que sucede alrededor, en los m\u00e1rgenes y en el propio p\u00fablico.<\/p>\n

Esto genera una situaci\u00f3n particular: el espectador no se limita a observar, sino que comparte un mismo espacio de acci\u00f3n, donde la frontera entre representaci\u00f3n y socializaci\u00f3n se vuelve m\u00e1s difusa.<\/p>\n

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\"\"<\/p>\n

Amanda Dig\u00f3n como Sally Bowles.<\/p>\n

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3. Porque reinterpreta el material sin limitarse a reproducirlo<\/strong><\/h4>\n

El principal elemento diferenciador de esta versi\u00f3n de Cabaret<\/em> es su formato inmersivo<\/span><\/strong><\/a>, que altera de manera sustancial la configuraci\u00f3n habitual del espacio teatral.<\/p>\n

No existe un escenario convencional que delimite con claridad el lugar de la representaci\u00f3n, sino que se genera un nuevo espacio<\/a> <\/strong><\/span>en el que parte del p\u00fablico comparte el mismo plano f\u00edsico que los int\u00e9rpretes.<\/p>\n

El espacio se organiza a trav\u00e9s de mesas y zonas de circulaci\u00f3n que rodean la acci\u00f3n, de modo que los actores se desplazan entre los espectadores e interact\u00faan con ellos de forma directa.<\/p>\n

Este dise\u00f1o elimina la separaci\u00f3n tradicional entre escena y platea. El espectador no observa desde una perspectiva \u00fanica, sino que su percepci\u00f3n se desplaza seg\u00fan los distintos puntos en los que se desarrolla la acci\u00f3n.<\/p>\n

La consecuencia es una experiencia en la que la atenci\u00f3n deja de estar guiada exclusivamente por un encuadre esc\u00e9nico \u00fanico, y pasa a depender tambi\u00e9n de la proximidad, el movimiento y la interacci\u00f3n directa con lo que ocurre alrededor.<\/p>\n

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\"\"<\/p>\n

\u2014Valoraciones del p\u00fablico.<\/p>\n

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4. Porque el elenco es una de las grandes sorpresas del Kit Kat Klub<\/strong><\/h4>\n

En un formato donde la acci\u00f3n ocurre literalmente entre el p\u00fablico, el trabajo del elenco se vuelve especialmente exigente. No hay escenario que proteja ni distancia que medie. La interpretaci\u00f3n se construye en contacto directo con los espectadores: juzgan actuaci\u00f3n, vestuario<\/a><\/span><\/strong>, maquillaje, todo a pocos cent\u00edmetros y en movimiento constante por el espacio.<\/p>\n

En ese contexto, la Sally Bowles de Amanda Dig\u00f3n<\/strong> ha llamado la atenci\u00f3n por una combinaci\u00f3n de fragilidad y desparpajo que encaja con la tradici\u00f3n del personaje, pero tambi\u00e9n con la l\u00f3gica de este montaje, en la que parece estar siempre al borde de algo.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

\u2014Valoraciones del p\u00fablico.<\/p>\n

 <\/p>\n

Algo similar ocurre con Abril Zamora<\/strong> como Maestra de Ceremonias, una presencia que domina el Kit Kat Klub sin necesidad de ocupar un lugar fijo, desplaz\u00e1ndose entre lo provocador y lo inc\u00f3modo con naturalidad.<\/p>\n

El resultado es un elenco que no solo acompa\u00f1a la propuesta, sino que ayuda a sostenerla desde dentro, d\u00e1ndole cuerpo en el mismo terreno en el que se mueve el p\u00fablico.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

\u2014Valoraciones del p\u00fablico.<\/p>\n

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5. Porque Cabaret<\/em> sigue hablando del presente<\/strong><\/h4>\n

M\u00e1s all\u00e1 del dispositivo inmersivo o de la cercan\u00eda con el p\u00fablico, Cabaret<\/em> sigue apoy\u00e1ndose en el mismo n\u00facleo que ha permitido su permanencia en el tiempo: la lectura de un contexto hist\u00f3rico concreto \u2014la Rep\u00fablica de Weimar y el ascenso del nazismo\u2014 a trav\u00e9s del filtro del entretenimiento nocturno.<\/p>\n

El Kit Kat Klub funciona, en ese sentido, como una forma de acceso a ese imaginario, no desde la reconstrucci\u00f3n muse\u00edstica, sino desde una est\u00e9tica de la decadencia que ya estaba presente en el material original. La fiesta, la m\u00fasica<\/a> <\/span><\/strong>y el exceso funcionan como parte de un entorno en el que lo pol\u00edtico se filtra de manera progresiva. Esa tensi\u00f3n entre lo l\u00fadico y lo inquietante es precisamente lo que mantiene vigente el t\u00edtulo.<\/p>\n

Y es ah\u00ed donde la experiencia se prolonga m\u00e1s all\u00e1 de la funci\u00f3n: en la incomodidad ligera de reconocer que lo que ocurre en escena no pertenece \u00fanicamente al pasado.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

\u2014Valoraciones del p\u00fablico.<\/p>\n

 <\/p>\n

Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 9 de abril de 2026<\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

LETSGO reinterpreta el cl\u00e1sico en un formato inmersivo. Aqu\u00ed tienes los 5 motivos por los que no deber\u00edas perderte esta producci\u00f3n.     Cabaret es, sin duda, uno de los musicales m\u00e1s versionados del g\u00e9nero. La pregunta, a estas alturas, ya no es c\u00f3mo representarlo, sino c\u00f3mo reinterpretar un t\u00edtulo profundamente arraigado en el imaginario […]<\/p>\n","protected":false},"author":12,"featured_media":7806,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"

[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p>

We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3>

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Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote>

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Valerio Tiberi is one of the most sought-after lighting designers in the European theatre scene. His professional range spans from opera productions in emblematic venues like the Op\u00e9ra Bastille in Paris and Teatro alla Scala in Milan, to international musicals such as The Phantom of the Opera<\/em><\/a><\/strong>, Cabaret<\/em><\/a><\/strong>, or West Side Story<\/em>; ballet (A Thousand Tales<\/em>, Alice in Wonderland<\/em>, etc.), and haute couture fashion shows for brands like Valentino and Dolce & Gabbana. He has received numerous awards, including the Italian Musical Oscar and Best Lighting Design.<\/p>

His work strikes a natural balance between technical precision and aesthetic sensitivity \u2014which is no small feat. In this interview, he opens up about his creative process, his reflections, and the challenges of lighting vastly different worlds: the theatre stage and the fashion runway.<\/p>

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The challenge of lighting a classic<\/strong><\/h4>

Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced Dirty Dancing<\/em> in Spain for the first time:<\/p>

I came with Federico Bellone; we were the original creative team. Since then, we\u2019ve done many productions [with LETSGO], but without a doubt, the most successful one is The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote>

Being part of the first Spanish-language production of one of the most successful musicals in history was a challenge in every sense. Tiberi remembers staging Phantom<\/em> at Teatro Alb\u00e9niz as \u201ca very difficult project.\u201d This is where the intricacies of lighting design come into play, when theory meets the hard ground of practice:<\/p>

The biggest challenge was finding the physical space to place the light. We can all come up with incredible ideas, but my job is to make them into reality.<\/p><\/blockquote>

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Lighting design by Valerio Tiberi for The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p>

\u00a0<\/p>

It was one of those times when art has to come down to earth: adapting to budgets, technical layouts, timelines, and spatial limitations. Finding the perfect spot for the light, and projecting from there.<\/p>

We used very powerful light sources that could do several things at once: specials, washes, effects. We worked a lot with light tilting to create depth, and we also used smoke, fire... fire is light, too, of course.<\/p><\/blockquote>

An artist\u2019s greatness often lies in their versatility. Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p>

In Cabaret<\/em>, the approach is completely different. It\u2019s an immersive production and although we\u2019re still in the creative process, the challenge is once again the same: finding space for the lights. Only this time, the light is exposed. In Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote>

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Thinking like the audience<\/strong><\/h4>

Lighting design is not just a technical craft. How do you think about a show when you\u2019re a creative but can\u2019t lose sight of the surgical precision that light demands? Luckily, artistic environments are fertile ground for questioning and transformation.<\/p>

Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p>

There\u2019s no one rule. I adapt to each situation. For example, with Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In Phantom<\/em>, it was the opposite: storytelling was my starting point.
But in both cases, I try to keep an artistic mindset from the beginning. I like to think like the audience. The audience doesn\u2019t know if it was hard or easy to achieve an effect; they only know if it moved them. That\u2019s why I try to understand how the human mind reacts to light, to color, to stimuli. And that changes depending on the type of show, the city, the society. It\u2019s not just design: it\u2019s psychology.<\/p><\/blockquote>

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Custom Gobos used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

\u00a0<\/h4>

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Rediscovering darkness<\/strong><\/h4>

Tiberi is fascinated by a deeply contemporary concern: in a world blinded by light (computers, phones...) we\u2019ve become unavailable to darkness. We live in a state of overexposure, often without even realizing it.<\/p>

Theatre, like some exhibitions, is the only place where you can rediscover darkness. That\u2019s why I always start from the dark. And from there, I build layers. I begin with the black, then work on the amount of light: the white. And if needed, the colors come after. Contrast is essential. I\u2019m not just talking about aesthetics; I\u2019m talking about creating an intimate experience, something the audience doesn\u2019t find in their daily lives.<\/p><\/blockquote>

\u201cRediscovering darkness (\u2026) an intimate experience.\u201d <\/em>To train the mind to appreciate privacy and reflective environments \u2014so often linked to solitude and twilight\u2014 has become a monumental act. In this sense, framing theatre as a space that revives our most primal thoughts and relationships isn\u2019t nostalgia: it\u2019s a new form of approach, born from our modern context.<\/p>

\u00a0<\/p>

Can AI understand theatre?<\/strong><\/h4>

Another hallmark of our times: new technologies and the relationships we forge with them. Tiberi acknowledges that AI has helped him streamline tasks and compare ideas:<\/p>

It\u2019s like a secretary: I feed it images, concepts, and ask it to try out atmospheres. But of course, AI doesn\u2019t know where to physically place a light in the theatre, or which type to use, or when. It helps optimize, expand your thinking, but not solve the essentials.
I mostly use it for dramaturgy. I create mental maps of the show, there, it\u2019s useful. But you need time. If you\u2019re working, you\u2019re working. Still, I think many professions could benefit from AI if used wisely.<\/p><\/blockquote>

Despite growing discussions about whether human creativity can be replaced by algorithms, Tiberi reminds us that some things can\u2019t be substituted. Asked about a moment where lighting was crucial to solving a dramaturgical challenge, he shares:<\/p>

In Houdini<\/em><\/strong><\/a>, in Italy, one of the last scenes was very hard to resolve. We talked for weeks about how to stage it\u2026 and in the end, I did something very simple in the theatre and it worked. Sometimes we overthink things, and the solution is in the simplest move.<\/p><\/blockquote>

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Lighting design by Valerio Tiberi for Houdini<\/a> <\/em><\/strong>(Italy production).<\/p>

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Being a designer today: the power of active experience<\/strong><\/h4>

In a world where instinct and hands-on experience make all the difference, Tiberi knows exactly what he\u2019d tell a young lighting designer starting out:<\/p>

Nowadays, with all the tech out there, it\u2019s easy to reach an average level. But getting to the top is harder than ever. The key is real experience. You need to be in the theatre, live the space, rehearse, test. Be there at least 300 days a year. And travel. See shows, museums, exhibitions. Not just modern ones, classics too. Go to the Louvre, to MoMA\u2026 Start from what\u2019s tangible. Don\u2019t stay in one country, or one style.<\/p><\/blockquote>

On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p>

I don\u2019t want to be a traditional professor. I want to speak from experience, what\u2019s worked and what hasn\u2019t. I try to involve my students directly in the theatre. That\u2019s where real learning happens.<\/p><\/blockquote>

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Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4>

As mentioned earlier, Tiberi\u2019s work isn\u2019t limited to the stage or the classroom. He\u2019s also designed lighting for fashion shows, where atmosphere and storytelling \u2014when present\u2014 play a secondary role. But where does the real difference lie between stage and runway?<\/p>

It\u2019s all about timing. In fashion, preproduction is long, but setup takes just two or three days. And the show lasts, at most, twenty minutes. In that time, you run seven or eight cues: the intro, models entering, the runway, the finale, the exit.
It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.
Above all, it\u2019s about the clothes. You need to light the garments with natural-looking light, without altering colors, minimizing shadows. The image must be clean, sharp. Sure, you work on the mood, but ultimately, it\u2019s about showcasing the clothes. It\u2019s about showing and selling.
And the goal is completely different from theatre. In a fashion show, what matters most is what ends up on Instagram. Lighting has to be tailored for smartphones, not for the human eye. And there\u2019s the live stream too, all the major brands do it now.<\/p><\/blockquote>

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The emotional impact of light<\/strong><\/h4>

A profession that walks the line between creativity and technicality but that, above all, demands a sensibility centered on the audience. In this sense, theatre stands as a master at evoking the deepest emotions.<\/p>

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Lighting design by Valerio Tiberi for Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p>

\u00a0<\/em><\/p>

In musical theatre, the show comes together during previews, where you polish the details. The most emotional moment is the premiere, that\u2019s when you can finally sit back and enjoy. Opening night is when you let go and just watch.<\/p><\/blockquote>

The premiere is the first glimpse into the emotional impact a piece can have, not just on the audience, but on the team behind it. In September 2024, Valerio Tiberi returned to Madrid after nearly a year, not because of Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p>

I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote>

\u00a0<\/p>

By<\/span> The<\/span> LETSGO<\/span> Pen<\/span>,<\/span> Claudia P\u00e9rez Carbonell,<\/span> on <\/span>July 15th<\/span>, 2025<\/span><\/span>\u00a0<\/span><\/p>

\u00a0<\/span><\/span><\/p>

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