When Elena Gadel recounted on "El Búnquer" that in Mar i cel she had to die of grief, it was necessary to understand the context to know whether she meant she felt embarrassed, or the more literal meaning. It was actually a mix of both. The actress couldn't find the cross she was supposed to use as an improvised dagger and, without that element, she collapsed in such deep sobs that she ended up "killing" her character that way.
Memorable scene
According to the account, Gadel's character was supposed to use the cross carried by Saïd's character as an instrument for her own dramatic death. When she couldn't find it—perhaps due to a technical error, one of many possible in live productions—Gadel chose to channel that confusion into her role.
The result was an emotional breakdown that allowed her to fulfill the dramaturgy, although not by following the stage manager's premise, who had suggested she turn around and fake the scene without the cross anyway. She, not understanding what he was telling her, found another equally successful resource.
Naturalness as Gadel's hallmark
This isn't the first time Gadel has excelled for her stage honesty. Winner of the Butaca Award for this musical, she has always stood out for conveying truth in her performances. This moment reinforces that image of a dedicated professional. On the Catalunya Ràdio program, her simple account, without added dramatics, precisely highlighted the emotional transparency that is so valued in theater.
The musical Mar i cel, based on the novel by Blai Bonet, was adapted by the Dagoll Dagom company and premiered originally in the 1980s. In 2005, Elena Gadel took on the lead role, establishing herself as one of the most prominent voices on the Catalan theater scene. Her performance was so impactful that it earned her the Butaca Award for Best Musical that year.
Beyond the anecdote
This recognition didn't focus solely on her voice, but on her ability to convey an emotional weight typical of someone who gets involved with the character to the limit. Her presence on stage was considered a "poetic link" between music, text, and emotion, according to several theater chronicles of the time. That deep gaze and total commitment justify why a mistake on stage—like not finding the cross—could turn into such an authentic emotional breakdown.
From an artistic point of view, what happened on stage is a reminder of how improvisation can reinforce the narrative. Gadel not only improvised, but also transferred an authentic emotion to the character.