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Gregorio Martínez Sierra, who had close ties to Granada, learned of the poem from Federico himself and did not hesitate to commission him to dramatize it, even though Lorca lacked experience as a playwright. The job ahead of him was almost impossible: to turn two pages of verse into a two-act, hour-long performance; to stretch the scant action into a solid plot; to underline the dramatic conflict so that it would be plausible; and to use verse with due dramatic effectiveness. As the date of the premiere approached, doubts multiplied. Federico thought of withdrawing the play and asking his father for a loan to compensate Martínez Sierra. In the end he decided to summon the “rinconcillistas” living in Madrid to adopt a common solution. The conclave was attended by Juan de Dios Egea, Melchor Fernández Almagro, José Fernández-Montesinos, Manuel Ángeles Ortiz and José Mora Guarnido. Although there were all kinds of different opinions, in the end Mora’s position prevailed: Even if the play failed, it would not erase “the consecrating hierarchy of the author in a theater as important as the Eslava”. Of course, in case it was torn apart, he had to face it with humor and in no case assume it as a defeat.