The emperor Augustus might have undertaken some restoration works, which, some time later, influenced the total ground plan of the monument. While these works were going on, the Theatre was apparently reduced and many of the auditoria were used as construction material for the new buttresses of the two wings. The semi columns of the stage were coated with red lime mortar. 

According to a relevant inscription, which was on several architraves, the stage or its forehead was apparently restored some time later than the mid 1^st century A.D., 64/65 A.D under the consulship of Julius Cordus, who was serving under the emperor Nero.

In the early 2^nd century A.D. the Theatre took the shape and the dimensions that it still has. The cavea, the landings and the buttresses were extended to the initial dimensions of the Hellenic Theatre and the first entry of the chorus was fully reconstructured. The stage was also reshaped with calcareous architectural sculpture parts.

This latest constructive phase experienced changes in the late 2^nd century A.D., mainly on the level of the architectural sculptures, which were replaced by marble ones. The wall of the rear façade was maintained and its part, which was visible by the cavea was covered by marble revetments. These works were connected to the emperor Septimius Severus and a setter up prizes in athletic games, who is recorded in inscriptions.

In the 3^rd A.D. under Caracalla reign 214-217 A.D. the first three rows of seats were ripped and the theatre was converted to an arena for gladiatorial contests. In the late half of the 3^rd century the monument tasted shifted again back into its initial use. For this purpose its orchestra was remodeled.

Chambers hewed under the cavea of the Theatre were probably used to meet the needs of the gladiatorial contests or the storerooms.

The Theatre was destroyed and let lapse into disuse definitely in the 4^th century A.D.

The Theatre has now been greatly restored by the known Greek restorer Antonis Travlos.