cuadrante de la soledad, by José Revueltas, with sets by the artist Diego Rivera. In 1954, Pinal participated in the play La Sed with Ernesto Alonso and the Argentinean actor Pedro López Lagar. In 1955 she obtained recognition in the theater scene in the assembly of Anna Christie, along with Wolf Ruvinskis. In 1957 Pinal staged the play Desnúdate, Lucrecia, in Chile, next to Jorge Mistral, who eventually starred in the cinema in Mexico. In 1958, Pinal was responsible for producing in Mexico the first Musical comedy, Bells Are Ringing, directed by Luis de Llano Palmer. For this work, Pinal had the offer to work on Broadway with the manager of Judy Holliday, but Pinal refused to cut her career in Mexico. In 1964 she made the Mexican version of the musical Irma La Douce, alongside Julio Alemán and directed by Enrique Rambal. José Luis Ibáñez will end up becoming her head theater director. Under the baton of Ibañez, Pinal starred in the work Vidas privadas. One of her most notable works in musical comedy was the Mexican version of Mame, a successful Broadway musical, which, thanks to her success, Pinal rode three times (1972, 1985 and 1989). In 1976 he also starred in the musical Annie Get Your Gun. In 1977, to commemorate her twenty-five-year career, Pinal set up her cabaret show entitled ¡Felicidades Silvia!. The show was presented with great success, first at the nightclub El Patio, and then at the Teatro de la Ciudad in Mexico City. In 1978, she starred in the musical Plaza Suite. Her daughter Viridiana's death truncated the theatrical project Agnes of God, which starred together in 1982. In 1983, Pinal starred in and produced the Mexican montage of the work La señorita de Tacna, based on the work of Mario Vargas Llosa. In 1985, while serving as First Lady of the state of Tlaxcala, Pinal remodelled the Xicohténcatl Theater, which reopened with the assembly The memories of the Divine Sarah. In 1986, Pinal starred in the work Anna Karenina, which despite the success obtained, was not to the liking of the actress, and the assembly only reached 100 performances. In 1988, in association with Margarita López Portillo, Pinal acquired the Cine Estadio, located in Colonia Roma in Mexico City, transforming it into its theatrical venue, the Silvia Pinal Theater, a space dedicated mainly to musical comedy. Pinal was free to set up