Today, the façade of the Russian Drama Theater adorns Kaļķu iela, but in the past, a small river, the Rīdzene, once flowed here. Along its banks, blacksmiths worked, and a lime kiln operated—crafts that gave their names to the central streets of Old Riga: Kaļķu (Lime) and Kalēju (Blacksmith). After the great fire of the 17th century, which destroyed many wooden structures, the blacksmiths were relocated, the river gradually filled in, and both streets became the city’s business hub, housing the police, a city shelter, a post office, and various shops.
The Uļej Joint-Stock Company
In the mid-19th century, Riga, as a key connection point between Europe and Russia, saw the rise of various trade associations. Among them, a special place belonged to the Uļej joint-stock company, founded in 1863 by Russian merchants. The name was symbolic—“ulējs” in Russian means a beehive, representing unity and hard work. Soon, the company acquired an old post office building at the corner of Kaļķu iela and Riharda Vāgnera iela, which became its first home.
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Initially, the building housed several organizations, including the Third Mutual Credit Society and the Russian Club. However, it was smaller than desired, and to expand, the merchants began purchasing neighboring properties. One of these was the house of architect Kristofs Hāberlands on Kalēju iela.
By 1880, Uļej decided to construct a new building in place of the old structures. The project was commissioned to the city architect Reinholds Šmēlings, known for his restoration of the Opera and Ballet Theater, which had suffered from a fire. The key requirement was a spacious hall for banquets and theatrical performances. Šmēlings chose to preserve the façade of Hāberlands’ house, integrating it into the new design.
The Beginning of the Theatrical Stage
In 1882, a building unlike any of its modest predecessors appeared on Kaļķu iela. In place of unremarkable houses now stood a grand four-story structure crowned with corner turrets. Its Renaissance-style façade, reminiscent of Florentine palazzos, featured massive rusticated corners and elegant arched windows on the third floor, adding to its stately appearance.
Particular attention was drawn to the second floor, where delicate caryatids were positioned between the windows. Above each window, against a shell-shaped backdrop, was the emblem of the Uļej joint-stock company—a beehive with bees swarming around it. This symbol not only reinforced the company’s name but also served as a reminder of the unity and industriousness of its members.
At the time, the main entrance was not on Kaļķu iela, as it is today, but on Riharda Vāgnera iela, then known as Great Royal Street. The entrance was framed by a massive portal supported by two Atlantes—sculpted by the renowned artist Augusts Francs Folcs. Behind the heavy doors lay a spacious vestibule leading to the cloakroom and a grand staircase, which ascended to the opulent halls above.
The second floor housed the premises of the Russian Club: a cozy library with wooden paneling, a reading room, a billiard room, a card room, a fireplace hall, and a spacious dining room with a buffet. The dining hall was particularly impressive, decorated in a traditional Russian style with carved portals bearing the club’s monogram and columns inscribed with “Hleb da Sol” (Bread and Salt) and “Milosti prosim” (You are welcome).
The highlight of the third floor was the main auditorium—Uļej’s pride and joy. This 550-seat hall featured slender Corinthian columns supporting a narrow balcony that provided a stunning view of the stage. A closer look at the capitals of the columns revealed the ever-present symbol of bees, a subtle reminder of the building’s origins.
The fourth floor housed another buffet, a smoking room, a kitchen, and the apartment of the theater’s steward. The staircase leading to this level was illuminated by two elegant lamps shaped like young women carrying torches. Everything in the building spoke of the grandeur, luxury, and social significance of Uļej—a place where Riga’s merchant class and intellectuals came together, and where the city’s cultural life thrived.
Theatrical Performances at “Uļej”
While German and Latvian theaters flourished in Riga, the Russian stage remained fleeting for a long time—limited to touring troupes, amateur performances, and occasional productions. That changed in 1883 when the theatrical lights were lit for the first time in the new building of the Uļej joint-stock company. The opening of a permanent theater was a long-awaited event, first dreamed of back in the 1860s.
The first production, The Major’s Wife by Ippolit Shpazhinsky, marked the beginning of a new era. A troupe of 16 actors presented 60 plays to the Riga audience in its very first season. The atmosphere of the stage, the scent of the wings, and the dim glow of the footlights transformed the building on Kaļķu iela into the heart of the city’s theatrical life.
However, Uļej was not just a theatrical venue. Its halls hosted a vibrant social life—masquerade balls, charity concerts, and festive gatherings of various communities. German, Latvian, and Jewish organizations eagerly rented the premises for their events, as the building was renowned for its grandeur and refined ambiance.
In 1903, the theater troupe left Uļej, moving into a new building—today’s Latvian National Theatre. Yet, the stage did not remain empty. Touring troupes continued to perform there, silent films were shown, and eventually, German actors became the last tenants of the space.
Everything changed in 1939. With the onset of German repatriation, the building was returned to its original troupe. After decades away, the theater had finally come home—to the place where its story had first begun.
War, Changes, and Losses
The old Uļej survived World War II—though the buildings across the street were wiped off the map, the structure itself remained standing. Yet, while its walls endured, ideological pressure proved to be just as destructive. During the years of occupation, the theater was forced to comply with the party line, though the troupe worked hard to preserve its artistic heritage.
The building itself did not escape change either. In 1965, it underwent a radical reconstruction. The first casualties were the Atlantes statues that once adorned the entrance. The old hall, with its cozy seats, narrow balcony, and elegant columns, was lost forever. Only the efforts of architect Andrejs Holcmanis saved a single capital with a bee—now the only remaining trace of the theater’s former grandeur.
In place of the demolished hall, a new, spacious auditorium was built, featuring a modern stage and balcony. Architect Juris Monvīds Skalbergs completely transformed the theater’s interior, redesigning the foyer, staircase, and buffet area. Only a small library and the former dining hall remained—but even they lost their historical charm, as old inscriptions were painted over.
Externally, the building also lost its former harmony. A massive stage block was added, eliminating the original courtyards. The façade of the Haberland house on Kaļķu iela was demolished, replaced by a heavy overpass-like structure. Where charming little shops once stood on the ground floor, a covered pedestrian gallery took their place—part of an ambitious yet ultimately unfinished project to turn the street into a major transportation artery.
Thus, the reconstructed Uļej entered the 21st century—with a transformed appearance but still carrying the memory of its past.
A Return to Its Roots
In September 2006, the theater reclaimed its historical name—Rīgas Krievu teātris—along with the name of Mikhail Chekhov. This was a tribute to the outstanding actor, director, and teacher who worked in Riga between 1932 and 1934 and established his own acting school here.
However, the true revival came with the large-scale renovation from 2008 to 2010. As with previous reconstructions, the theater underwent significant changes, but this time with a deep respect for its history. Almost all interior spaces were dismantled and rebuilt, giving the venue a fresh yet familiar look. The auditorium received a new stage and state-of-the-art technical equipment, while historical spaces were carefully restored.
The greatest achievement was the return of the building’s original appearance. The façade regained its symmetry, the corner turrets were restored to their rightful places, and the once-dominant stage block no longer overshadowed the theater’s silhouette. Not much remains of the old Uļej: the library, the former dining hall, and a few decorative elements. The capital with the bee and the famous torch-bearing female lanterns are now preserved as museum exhibits.
Today, the theater continues its traditions, blending Russian and world classics with contemporary plays, musical productions, and children’s performances. It tours internationally, participates in festivals, and remains a vital cultural center of Riga, preserving the spirit of its rich history.
