Daniel Anglès is, in many ways, the backbone of Catalan musical theatre — a performer since the 1990s, now an artistic director, adaptor, animation voice, and the founder of a school that has trained much of the current generation. He's widely known within the industry and rarely profiled at length. I set out to build that profile.

I reported this piece twice, in two formats. It began as an audio profile at Blanquerna, structured around testimonies from people who had worked with him. For a Magazine Journalism course a year later, I rebuilt it as a long-form written feature — restructuring the material for print, deepening the reporting, and adding a new voice I hadn't been able to include the first time, Víctor Arbelo. The result traces his full arc: performer, director, teacher, and the through-line of someone who never left the stage behind.

The profile resists the obvious "King Midas" framing — the man who turns everything he touches to gold — and argues something quieter: that his career is built on perseverance, not magic. The organising idea is a boy who fell in love with theatre at twelve and has spent thirty years trying to make audiences feel what he felt. Reporting it through the people around him, rather than through him alone, was a deliberate choice: a profile is more honest when it's built from the outside in.

Reporting the same subject in two formats — audio, then print — taught me how much a story is shaped by its medium: what a voice carries that text can't, and what a written feature can hold that a three-minute capsule can't. Adapting one piece of reporting across formats, for different audiences, is close to the core of communications work. And a profile built from testimonies taught me to construct a portrait out of other people's words — to hear what they were really saying about someone, and shape it into a whole.