This story was maintained in part to excuse a possible mistake of the composer, Óscar Esplá (1886–1976), who asserted that in 1924, he had been shown a letter of 1266 authorizing the play.

This aerial device, called la magrana (“the pomegranate”), transports the first Angel who delivers the golden palm frond to Mary, and shows her the way to Heaven.

Modern research, however, suggests that the name was already used in the 16th century, possibly because the current, more compact and sturdy device replaced a less substantial structure made of cotton, paper, and fabric.

Roughly square in shape and covered in wood, it is raised to conceal a hollow beneath into which some aerial devices descend, where actors change costumes, or disappear into.

Here, the Virgin experiences all the process of sacralization and glorification that contains the work, it is the only place where celestial personages and earthly people live together”.

The term “cadafal”appears in early reports of mystery plays staged inside churches with an invariable meaning: a dais or platform where the dramatic action takes place.

It rises from the principal door to the Cadafal; two small bays to the each side at the point where it joins the latter provide seating for three lay organisers and the priest overseeing the play.

The manuscripts of the liturgical ceremonies, which contain precious annotations on stage directions, devices, and the musical score, date to as early as 1625.

As it is the Vigil of the Assumption, it recounts the final hours and Dormition of the Virgin, when her soul is brought to Heaven and her remaining corpse surrounded by the grieving Apostles.

It begins at 10 o'clock with El Soterrar (“The Interment”), which takes place in the streets outside the Basilica with a procession of the image of the dead Virgin, the other actors, and bands playing songs of La Festa.

On August 6, in the civic Room of the Council, La prova de veus (“the test of voices”) takes place to select those who will sing in the Misteri.