The structure of the building follows the concept of the "Italian-style theater," which was widely used throughout the 19th century. The intention of the promoter of the Carolina Coronado Theater was in line with the spirit of creating large scenic spaces. This theater was conceived as a grand hall of majestic dimensions, with a height exceeding 15 meters between the ceiling and the stalls. Above this vertical space, there were tiers supported by cast-iron columns and two amphitheaters. It is also worth noting that the construction of the Carolina Coronado Theater introduced iron as an important architectural component in the region. Iron was not only used as a supporting element but also for purely ornamental or safety purposes.

Steel was used in the construction of the framework supporting the theater's roof. Cast iron was used for the columns supporting the boxes and the railings of the amphitheaters. Iron was also used to frame the glazed openings in the eclectic main façade of the theater, giving it a sense of lightness. The seats installed in the hall were made of wood and cast iron, arranged in a mixed manner. These seats were removed when the auditorium was used as a ballroom during festivals like Carnival.

The builders of the Carolina Coronado Theater were likely motivated by the significant population growth Almendralejo experienced from the second half of the 19th century: 5,810 inhabitants in 1845, 9,060 in 1857, and 12,587 in 1900.

With this demographic progression and based on an economy centered around the primary sector—vineyards, olive groves, and cereal cultivation—complemented by emerging manufacturing industries and good transportation infrastructure, the population of Almendralejo experienced economic growth, mainly driven by the wine industry. This economic growth facilitated the construction of buildings for cultural and recreational activities with significant artistic value, such as the Bullring (1843), the Mercantile Circle (1924), and the Obrero Extremeño (1930).

Carolina Coronado Theater still retains the original plans drawn up by the Portuguese architect A. Coffino. Due to Coffino's Portuguese nationality, the validity of the project he presented to the competent authorities was questioned. After modifications were made, such as the seating capacity, the plans were validated by the provincial architect Ventura Vaca, who had previously worked in Almendralejo (Justice Palace in 1886, plans for the Jail in 1887, and the Charity Hospital House in 1888).

The 1916 paintings belonged to the genre painter Adelardo Covarsí. The artist was at an optimal moment of vigor and maturity to undertake the decoration of a theater of the dimensions that had been built in Almendralejo. His work focused on the decoration of the lobby, the noble hall, and the ceiling, proscenium, and walls of the theater. However, it is not entirely clear if he directly participated in the decoration of the vertical surfaces of the hall, which are adorned with pigments on a plaster base. Covarsí drew inspiration from mythology, departing from regionalist themes.

In 1971, the theater was renovated and converted into a cinema, losing many of its distinguishing features and grandeur. In 2003, the reconstruction of the building began, following the 1916 plans. The two floors of the amphitheater were reconstructed, the boxes were restored, the roof was renovated with panels, and plumbing, electricity, air conditioning, and ventilation works were carried out. Fire safety equipment and emergency lighting were installed, and the seating area was given a new floor. The exterior carpentry was repaired and repainted.

The façade, which remained unchanged and retains its originality, has three floors. The ground floor has the entrance doors, the first floor has linteled openings, and the second floor has semi-circular openings. The decoration is based on moldings and leaded glass windows, giving the building a well-balanced appearance.

It is also worth mentioning the Noble Hall, located on the second floor and popularly known as the "Hall of Mirrors." Originally, it was complemented with vegetal motifs in the corners of the walls, theatrical motifs above the main doors, medallions with the portraits of Carolina Coronado and José de Espronceda, and a central canvas depicting a shepherd boy in the countryside, accompanied by his dog and playing a flute. The ceiling features an oval decorated with a blue sky with fluffy clouds, representing the triumph of Venus, accompanied by two doves and riding a carriage pulled by swans and driven by Cupid, who drops roses and a myrtle crown. These paintings are also the work of Adelardo Covarsí. The hall has a spacious balcony and elegant "false" stained glass windows. Originally, this room was used for intermissions during performances, and currently, it is used for small events such as book presentations, conferences, etc.