“The Mad Story of the Golden Age” is a co-production between La Escalera de Tijera and Z Teatro, directed and written by Javier Uriarte, which presents a critical, humorous and celebratory review of Spain during the Golden Age, showing its lights and shadows through historical figures, artists and con artists. This picturesque proposal, with that request in the title provided by the word “loca”, offers a light review in a festive tone of Spain in the sixteenth and seventeenth centuries, focusing on successive kings since the Catholic Monarchs, some important writers, and with some social references, artists and con artists. The content, so light and so little depth, must be viewed as an altarpiece in which the true history of Spain, so grandiose in its art and so meager in general, is diffusely reflected. The author of the play focuses on creating a show as a form of entertainment where what is relevant is more in the forms of interpretation of the clown or puppeteers and not in the relevant aspects that the powerful powers had in society at the time, or the struggle of people to survive in adversity or the value of art. The fact of singing narration gives the dramaturgy a modern atmosphere and a pleasant mode of transmission to the audience’s ear. Javier Uriarte, who directs and stars in the role, gives a worthy and entertaining performance that combines humour, a touch of criticism and a historical publishing line, perhaps trying to balance the successes and mistakes of the past, highlighting the important role that art had at that time in which, for this reason, art was called the Golden Age, but without leaving in the background the history of royal names and some very prominent names in literature or painting; Some observations are provided about the daily lives of people throughout history. The proposal exudes ingenuity and creativity, but it also sometimes uses excessively banal resources, whether linguistic, gestural or even including an “easy” misunderstanding with Quevedo (classical and current singer). As is the case today, it couldn’t be otherwise, inappropriate or improvised blood sausage is also used, referring to current events that were completely out of context, such as the prison quote of a particular politician or the somewhat lame imitation of the titular. In this scenic journey spanning two centuries, the four comedians who take the stage introduce many of the characters, references and stories that make these times of lights and shadows familiar to us. Literary figures such as Cervantes, Lope de Vega, Calderón, Quevedo or María de Zayas are evoked, along with visual artists such as El Greco and Velázquez, among others. The truth is that comedians embody multiple personalities on stage while creatively taking a fast and fun ride. Although it gives the impression that we are facing a somewhat disorganized show that turns into a mosaic of important characters, in a kind of mixed bag, from which the same comes from the Battle of San Quentin, where Celestina or Sigismundo appear. It is important to highlight that in an almost empty stage space, actors and actresses play with a precise scenography consisting of a few elements, common objects, such as simple ironing boards or a large fitness ball, which transform into the scene. To tell stories or to spice up classical texts (the most relevant are the life-dream texts) with the success of pantomime or clown theatre, circus, lots of humor and live music; All of this, always in the service of telling this crazy story. What is absolutely beyond doubt is the dedication, good work, interpretive professionalism and excellent theatricality of Lola Sánchez, Dani Gian, Roberto Cali and Cristina Zarandeta, who do relevant interpretive work, which in itself gives form and meaning to the crazy story they want to tell. Distinguished in dealing with the body and the clown, it is also striking the circus part (juggles, balance, high slaps…), the caricature part (portraits of kings, writers and artists in the golden age) and also the musical part, which is the key to the show that distinguishes the viewer and tells stories. The proposal, aimed at both the general public and a school audience, is judiciously short, about an hour long, which makes it accessible and not at all tiring or boring, for those who are not accustomed to attending theatrical performances. However, I understand that schoolchildren should be offered an interesting theater, but with more gravity and, above all, with more depth, because school theater should not only be entertaining, but should be more attentive to the principle of “teaching by delight.” In short, “The Mad History of the Golden Age” is a show that combines slight historical diffusion with a lot of humor and some social criticism, trying to bring the Spanish Baroque to a contemporary audience in a tone that is more celebratory and cartoonish than reflective. Title: “The Crazy Story of the Golden Age.” Direction and drama: Javier Uriarte. Cast: Lola Sanchez, Danny Jian, Roberto Cali, Cristina Zarandeta. Musical composition: Balta Cano. Scenography: Antonio Olero. Lighting: Gustavo Gonzalez. Costumes: Eloisa Serrano. Props: Roberto Cali. Production: La Escalera de Tijera Z Teatro. Theater: Rojas Theater.