The theatre has undergone several renovations, notably at the end of the 1st century or early 2nd century CE (possibly during the reign of Emperor Trajan), when the current facade of the scaenae frons was erected, and another in the time of Constantine I (between 330 and 340 CE), which introduced new decorative-architectural elements and a walkway around the monument.

Following the theatre's abandonment in Late Antiquity, it was slowly covered with earth, with only the upper tiers of seats (summa cavea) remaining visible.

In local folklore the site was referred to as "The Seven Chairs", where, according to tradition, several Moorish kings sat to decide the fate of the city.

Constructed in faithful accordance to the rules of the treatises of Vitruvius, the building corresponds to the typical Roman model.

The structure exhibits similarities with the theatres of Dougga (Tunisia), Orange (France), Pompeii (Italy), and Rome.

The first rows ima cavea, where the wealthier social classes were seated, is divided into five radial sectors cunei, delimited stairs, a horizontal level, and a corridor praecinctio that separates it from the upper bleachers.

The décor of this part is completed by provisional sculptures between columns, the originals being kept in the nearby National Museum of Roman Art.

At the bottom of this garden, on axis with the main door of the stage, there is a small room dedicated to the imperial cult, as reflected in the finding of a sculptural portrait of the emperor Caesar Augustus dressed as pontiff maximus.

In the northern corner of the peristyle, high above the garden, there are latrines and to the west the remains of a house built after the abandonment of the theatre.

This residence features a courtyard surrounded by columns and pilasters and several rooms, some topped with an apse and most with murals depicting life-size human figures.