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The historical tour of this street is impregnated with transcendental moments, highlighting the periods of the Viceroyalty and the Reform. Today, it stands as an area of remarkable diversity, offering a variety of options for entertainment and culture.
In recent times, life on República de Cuba Street has experienced a notable revitalization thanks to the opening of spaces that promote recreation and culture. These places not only offer diverse options, but also provide an inclusive approach to sexually diverse communities.
This vibrant coexistence is intertwined with long-established businesses that sit in the shadow of an old theater, adding even more charm to the setting.
República de Cuba Street one of the first traces
From dawn to dusk, each façade holds its own narratives and each corner hides its mysteries. The book “La Ciudad de México,” written by the chronicler José María Marroquí, reveals that this road was part of the original layout of the capital after the conquest. Its presence is palpable in the plan drawn by Juan Gómez de Trasmonte in 1628.
However, the first block was later closed to allow for the expansion of the Concepción convent. After the enactment of the Reform Laws, this building was demolished, and in 1861, this street segment was reopened under the name of Calle del Progreso.
Near the intersection with Eje Central is the iconic Cine Mariscala, designed by engineer Theodore Gildred. This cinema, which opened its doors in March 1948, was in its heyday a space with capacity for three thousand six hundred and fifty seats. Although it was later subdivided into two theaters, it ended up in a state of abandonment.
A memorable scene from the movie “El profeta Mimí,” starring Ignacio López Tarso and set in the 1970s, was filmed here. Another relevant corner is the passage located behind the movie theater, which is currently closed by a fence.
In the past, it was part of the Convent of the Conception and had its own identity with “atarjea, paving and lanterns that illuminated the night, creating the feeling of a small town,” in the words of Moroccan. Later, it was opened to the public under the name of Callejón del Progreso.
Towards the eastern side, on the corner with 57th Street, an art deco style building stands out for its tile details and a relief on its door. This building stands out for its ornamented top with the figures of the sun and the moon. The design is the work of architect Enrique Aragón Echeagaray, recognized for creations such as the Monument to Álvaro Obregón and the book “Fisonomías de la ciudad” (Physiognomies of the city). The construction of this building took place between 1929 and 1930.
The evolution of one of the most emblematic streets in the world.
República de Cuba Street, formerly known as Dolores between Calle del 57 and Allende, has evolved into a lively central artery of nightlife in the heart of downtown. In this stretch, there are essential destinations in the local story, such as El Marrakech and La Purísima, fundamental elements of the nightlife scene.
Steps away within the same street of Republica de Cuba, at number 34, there remains an eclectic style building that used to house the pulqueria “Charros, No Fifís.” This establishment attracted the attention of American photographer Edward Weston, who mentioned it in his diary along with other pulquerias of the time.
The subsequent section was called Calle del Águila, a name adopted at the end of the 17th century to replace Ballesteros. Here are the remains of the Teatro Lírico, a jewel of the performing arts in the heart of the city. The architect Manuel Torres Torija was the creator of this building that opened its doors in August 1907.
The inaugural event, a splendid “lunch-champagne,” was recorded in a chronicle in the newspaper El Mundo Ilustrado, where figures such as Justo Sierra and Rafael Icaza Landa led the celebration. The theater became the stage for artists of the stature of María Conesa and the home of revue productions.
An essential meeting point in the area is the Río de la Plata canteen, which throughout its history has attracted a diverse audience. In January 1903, a brief advertisement in the newspaper El Popular invited to the inauguration of reforms in the establishment, carried out by Mr. Cosme del Torno and Mr. Agustín Núñez.
Subsequently, the Diario Oficial documented the sale of the place to different owners. Photographs from the 1920s give us a glimpse of the environment of that time: just across the street was the store La Ciudad de Oviedo, in a building that was eventually rebuilt while preserving the corner niche. A short distance away, at number 55, the Iris cabaret occupied the first floor of the current Princess Hotel, adding a touch of recreation to the area.
