The count George built the theatre not only in order to watch performances but specially that he could take part himself. The main organizer of the theatre life in Litomyšl had been the count George Joseph by himself for ten years after the construction of the theatre. He was a keen actor, collected plays and arranged productions. His relatives - his wife, brother and other members of the family - friends and castle officers usually filled the other roles. The repertoire involved popular plays from Vienna, where Wallensteins visited several theatres.

The performances were always a small celebration. The relatives and friends of the castle nobility arrived very often because of them (number of a noblemen participated in preparation and realization of these performances). The most important townsmen as well as Piarists and students from the college were invited to the theatre; the strict rules reigned over the distribution of the tickets for the performances. It was played for all sorts of opportunities; the performances joined with the celebration of the count George Joseph's name-day used to be probably the tradition.

In spite of undoubted enthusiasm the performance didn't get over the level of amateurish play. It should be example for later amateur performances downtown (Wallensteins than visited these performances as well).

Music used to be at the performances usually. Evidently just a drama was played in Litomyšl; at this time ballet insets or music interludes (e.g. between acts) were common in drama at least as well. The orchestra had even 20 members for the most ceremonious performances (most likely Litomyšl musicians used to be). The archival sources documented the military guard at some performances.

The organization of the performances used to be in the hands of the count. He took a decision on fashion of shapes, stage properties and even on partition of roles. Plenty of the other rooms were in service for the theatre - above all store of the scenes and stage properties and cloak room. The detail inventory of the theatre from the years 1825-1828 speaks about number of “dressing cabinets” among others, where the parts of the theatre equipment were put.

After 1807 there followed a period of the stagnation in the life of the theatre (perhaps because of the war events). Its revival came after the death of George Joseph and the accession of his son Anthony in 1825. The revival continued until the 1840's.The Memory Book, written for the countess Kajetána, nee Fünfkirchen, informed us about the reach theatre activities among the years 1827 - 1845. Wallensteins with their friends performed 37 plays in 20 evenings; two plays were performed for one evening usually. The nobility arrived because of the theatre at Litomyšl from wide environs - an active actors used to be Belcredies form Jimramov, Chamaré from Nové Hrady, the prince Lichtenstein from Rudoltice and other nobles and castles staff or their relatives.

The countess Kajetana, the wife of the count Anthony, was probably an active actor in the theatre from the end of the 20's of 19th century. Among the years 1827 - 1845 she wrote The Memory Book concerning performances in the castle theatre. We suppose that the study of this unwrought source brings up a lot of new information about the theatre life in Litomyšl castle theatre.

The financial fall of the domain in 40's of 19th century also meant a drop in the theatre activity and after the half of the 19th century, when the castle became the property of Thurn-Taxis dynasty, the theatre was used just for rare occasions by amateur actors from the downtown and for gala soirées especially of Piarists schools. A famous musical evening took place in 1880 in honor of a visit by Bedřich Smetana, who had once appeared before the nobility as six years old boy in 1830.

Chronicles of Unity of Litomyšl amateur actors mentioned about the performances of amateurs in the castle theatre. Sure it's possible to find very interesting documentation about them right in the theatre. Above all there are notices by pencils on the inside parts of the prompt-box: records about the date of the performances, about plays and directors.