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The moro-more is staged in four different ways: as a theater in the streets, arena style, in an apron or a proscenium stage. In some towns, performances are ambulatory. The cast moves around the town and perform in front of the homes of the prominent, who grant them honorariums for their Thespian contribution to the fiesta. The audience follows the performance from house to house. Distinction between player and spectator is vague. Anyone can be part of the Moorish or Christian army by simply donning the identifying costume. During battle scenes, an onlooker may find himself totally surrounded by contending Christians and Moors. Some barrios present their moro-moro in open fields without utilizing platforms. The audience simply mill around the acting area. But generally, comedias are performed on improvised platforms or the permanent stages of the town plaza. The platform and the stage made possible the trap-doors for the enchantment scenes. Street and arena presentations dispense with décor; platform performances employ a backdrop; permanent stages utilize elaborate sceneries.
Spanish music is an integral of the moro-moro; macha and paso doble for the entrances and exits; punebre for the sad arts; batalya for the battle scenes. Instrumental accompaniments vary. Barrio performances usually use guitars, harmonicas, bamboo flutes and iguana-skin drums. Town productions have brass bands.
Originally, the full moon or torches provided the illumination for the moro-moro, gradually, candles lanterns, kerosene and incandescent lamps became the illuminants. The person in charge of the light is called a pusong. A pusong is a man or woman who has vowed to be a stagehand in the comedia for some favor granted from his particular devotion. Dressed and made-up as clowns, they replace the spent candles, pump and replenish the kerosene lamps.
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