the Italian style, with a courtyard and stalls on the first floor and a double amphitheater on the first and third floors. There are boxes on both the first and second floors. The stage space consists of an orchestra pit, the stage itself and a stage tower with galleries. The stage has a limited area, as mentioned above, of 178 m2 and an orchestra pit of 35 m2. The seating area of the stalls is 385 m2, with a capacity of 836 seats, not counting the 6 stalls, the 18 boxes and the second amphitheater. The theater is equipped with dressing rooms, toilets, two lockers and a checkroom, as well as technical booths on the first and third floors. Access to the different elements of the theater is resolved with a lobby where there is a large marble staircase that connects the ground and first floors creating a foyer on two levels. The interior of the room is practically intact in its original state and represents a compendium of ornamentation that feigns a fictitious material nobility based on the plaster decoration, warm tones, gilded elements, curtains and carpets. Facade The external image, perfectly symmetrical, seeks to mask the internal diversity. The openings that correspond to the theater adopt domestic forms that functionally may be inappropriate, in favor of an assimilation of the openings that serve residential or tertiary uses. Based on this criterion, the architectural style used is the most common at the time, imperial neo-historicism, characterized by being symmetrical, severe, well-proportioned and moderately ornamented in singular points. The facade is fragmented into the three classic bands. The one-story plinth is entirely associated with cinematographic and theatrical use. The three main sides are topped with awnings to protect the public gathered on the street. The central strip is composed vertically, arranging the openings in several series of columns, one for each identifiable area of the elevations. The stairwells are illuminated by a slit opening, veiled by a lattice molded in situ, which accentuates the verticality, while providing a rhythmic counterpoint to the uniform generality. In the lower section, the cornice is formed by the roof skirt, finished in slate, in neo-Herrerian fashion, and by dormers that establish a reference with the composition of openings in the lower face. In the chamfered tower, the cornice splits into two floors framed by powerful molding lines and crowned with a pinnacle, with the