A course was also taken for the professionalisation of the troupe at the Russian Drama Theatre, while travelling and invited troupes began to appear. In the autumn of 1928, a studio, or workers’ theatrical workshop, was opened – abbreviated “Rabtemas” from Rabochaya Teatralnaya Masterskaya. In the evenings, its students were taught the history of the theatre, along with make-up art, singing, and an introduction to the production side of things. In the 1929/1930 season, director Dmitry Khadkov, invited from Irkutsk, staged Alexander Afinogenov’s play The Wolf’s Path. The repertoire was dominated by contemporary Soviet dramaturgy, where performances glorifying everyday working life occupied an important place. An “(industrial) production” drama began to appear on the stage of the Russian Theatre, where the main theme was the reflection of proletarian feats: performances included Pace and Onslaught based on the play by Dmitry Kasyanov and Mark Triger, and The Rails Are Buzzing and Bread based on plays by Vladimir Kirshon. In the play Fear, based on a work by Afinogenov, the problems of the Soviet intelligentsia were touched upon. Various foreign classics were also staged: The Robbers and other plays by Schiller, Tartuffe and Georges Dandin, or The Thwarted Husband by Moliere, and plays by Balzac. Ostrovsky already running plays were accompanied by his It’s Not All Shrovetide for the Cat, It’s a Family Affair – We’ll Settle it Ourselves, The Storm, Guilty without Fault, A Profitable Position, and Without a Dowry. Vasilisa Melentyevna returned to the stage once more and Gogol’s The Inspector General was performed again. The play The Lower Depths never left the stage, being so ideologically relevant. In 1937, Dmitry Khadkov returned to Yakutsk with a large group of artists and took over the Russian Drama Theatre until 1939. Khadkov again turned to Gorky’s oeuvre, staging a second version of Vassa Zheleznova. Performances based on classical works were again staged: William Shakespeare’s Romeo and Juliet, Friedrich Schiller’s Intrigue and Love, Félix Pyat’s The Ragpicker of Paris, Jean-Baptiste Molière’s Scapin’s Deceits, and Anna Karenina by Lev Tolstoy were also featured. After 1939, the theatre was headed by the director Vladimir Ivanov, who arrived from Makhachkala. New Soviet plays such as Tanya by Alexei Arbuzov, On the Steppes of Ukraine by Alexander Korneichuk, and Kremlin Chimes by Nikolai Pogodin appeared on the stage. Most of the performances bore something of a poster-like, social-political character. This phenomenon was most clearly manifest in the first decade after the Revolution.
During the Great Patriotic War, the Yakut and Russian Drama Theatres were merged. By October 1941, a new building had been built for the Russian Drama Theatre, which was formally opened and on the 6th November 1941. On the 13th April 1942, one of the first plays written about the war was shown on its stage – On the Eve by Alexander Afinogenov. The next performance, Russian People by Konstantin Simonov, directed by Vladimir Ivanov, was a great success. The directors V. Buturlin and P. Urbanovich came to Yakutsk from Moscow and staged the plays Wait For Me by Simonov and A Long Time Ago by Alexander Gladkov, which likewise met with the audience’s approval. Also in the first months of the war, the theatre organised small brigades to serve at the military training centres, offering a concert programme – the so-called Boyevye Teasborniki or “Fighting Theatrical Collectives”. By the end of the War, many theatrical figures from Yakutsk had been awarded the title of Honoured Artist of the YaASSR.