Labia Theatre

Labia Theatre is an independent cinema in Gardens, an inner-city suburb of Cape Town, South Africa. It is regarded as one of the city’s oldest surviving independent movie theatres and occupies a building whose cultural use predates its identity as a cinema. The venue opened on 16 May 1949, when Princess Labia inaugurated the former Italian Embassy ballroom as a theatre for live performance. In its first phase, the building hosted stage productions, including work by playwrights such as Robert Kirby. Films were shown during periods when no live performances were scheduled. The theatre was initially associated with institutional ownership involving the South African Broadcasting Corporation and the Department of Sea Fisheries. During the early 1970s, ownership passed to Polish emigrant Wolf Miknowski. The venue faced a serious competitive challenge after the opening of the Nico Malan Theatre in Cape Town’s central business district, now known as the Artscape Theatre Centre. To preserve the building’s cultural role, Miknowski allowed Eric Liknaitzky to rent the site for screenings of independent and art-house films. Liknaitzky, Trevor Taylor and Tony Velks were among the distributors involved in bringing such films to audiences. The cinema’s history also intersects with South Africa’s apartheid era. Although legislation such as the Reservation of Separate Amenities Act formally enforced racial separation in public facilities, the Labia was described as largely ignoring those restrictions. This contributed to its reputation as an alternative cultural space in Cape Town. From 1979 to 1989, the cinema was owned by Mario Veo and Ingrid Burnett. Actor Richard E. Grant, who studied at the nearby University of Cape Town, was a regular patron and later characterized the cinema as a kind of second university because of the access it provided to international and independent film culture. Ludi Kraus acquired the cinema in September 1989. Kraus had previously imported foreign-language films from Europe and organized screenings at the Baxter Theatre Centre and the Nico Malan Theatre Centre. He left a legal career to manage the Labia full-time. Under his ownership, the venue retained its emphasis on cult, classic, foreign-language and art films while also adding some more commercially oriented programming. The theatre’s appeal has depended not only on its programming but also on its historic atmosphere: features such as the original ticket booth, sweets counter and seating have been preserved alongside later additions. The site has expanded from its original auditorium to include three additional cinemas, a bar and food area, and a terrace. A separate two-screen annex operated for several years at the Lifestyle Centre on Kloof Street, but that location closed in 2013. In 2014, the theatre launched the Digital Gold crowdfunding campaign to fund digital projection equipment, facility improvements and an upgraded foyer. The campaign attracted 885 contributors and raised more than R550,000, below its stated R2,000,000 target but sufficient to support the installation of digital projectors in all of the cinema’s screens. Labia Theatre’s brand is therefore built around independence, continuity and film discovery rather than a large multiplex model. Its preserved architectural details, central Cape Town location and long-standing commitment to non-mainstream programming distinguish it from commercial cinema chains. The theatre has also occasionally become part of public debates about cultural programming and political representation, including a 2012 dispute over the proposed screening of the documentary Roadmap to Apartheid. Its enduring identity is that of a historic, locally rooted cinema offering audiences an alternative to mainstream exhibition.

Labia Theatre began as a performance venue rather than a purpose-built cinema. The building had served as an Italian Embassy ballroom before Princess Labia opened it as a theatre for live performance on 16 May 1949. Stage productions were presented there, including work associated with playwright Robert Kirby. Film screenings were initially supplementary, taking place when the venue was not being used for live performance. The theatre was connected with a consortium that included the South African Broadcasting Corporation and the Department of Sea Fisheries. During the early 1970s, Polish emigrant Wolf Miknowski became the owner. The venue’s survival was threatened by competition from the Nico Malan Theatre in Cape Town’s central business district, now the Artscape Theatre Centre. Miknowski responded by permitting Eric Liknaitzky to rent the premises for independent and art-house film screenings. Liknaitzky, Trevor Taylor and Tony Velks were among the distributors associated with this activity. The Labia developed a distinctive role during apartheid. Restrictions under the Reservation of Separate Amenities Act and related segregation laws were reportedly disregarded at the cinema, helping make it an unusually open cultural space. The venue later passed to Mario Veo and Ingrid Burnett, who owned it from 1979 until 1989. Richard E. Grant, then studying at the University of Cape Town, was a regular visitor and regarded the cinema as an important source of informal film education. Ludi Kraus took ownership in September 1989. Before acquiring the venue, Kraus imported European foreign-language films and arranged their exhibition at the Baxter Theatre Centre and the Nico Malan Theatre Centre. He subsequently left the legal profession to run the Labia full-time. The cinema continued to focus on cult, classic, art-house and foreign-language films, while adding some more commercial titles to broaden its programme. Physical changes over the years included the addition of three screens, a bar and food area, and a terrace. The operator also opened a two-screen annex at the Lifestyle Centre at 50 Kloof Street. That satellite location closed in 2013, leaving the historic Gardens venue as the central Labia site. In July 2014, the cinema began the Digital Gold crowdfunding campaign. The appeal sought R2,000,000 for digital projectors, improvements to facilities and an upgraded foyer. It raised more than R550,000 from 885 contributors. Although the total was below the target, the campaign helped finance digital projection equipment for all the cinema’s screens and demonstrated the strength of the theatre’s local support. The Labia has also been involved in disputes about film selection. In February 2012, it declined to screen Roadmap to Apartheid, a documentary comparing aspects of South African apartheid with the Israeli–Palestinian conflict. The Palestine Solidarity Campaign threatened a boycott and a Human Rights Commission complaint. Right2Know, which had been involved in organizing a free screening with the Labia and the PSC, alleged that the cinema had yielded to pressure from the Zionist Federation; the theatre’s stated concern was the film’s controversial and apparently one-sided political treatment. Through these changes, the Labia has retained a recognizable independent identity. Its preserved ticket booth, sweets counter and seats reinforce the sense of continuity, while its multiple screens, food and beverage facilities, terrace and digital projection allow it to operate as a contemporary cinema. Its principal distinction remains the combination of historic surroundings, independent ownership and programming that gives substantial space to films outside the mainstream multiplex circuit.

• 2014

  Digital Gold crowdfunding campaign

  [1]Labia Theatreen.wikipedia.org

  A public crowdfunding campaign raised more than R550,000 from 885 contributors and supported digital projection and facility improvements.

• 2013

  Kloof Street annex closes

  [1]Labia Theatreen.wikipedia.org

  The two-screen annex at the Lifestyle Centre on Kloof Street ceased operations.

• 1989

  Ludi Kraus becomes owner

  [1]Labia Theatreen.wikipedia.org

  Ludi Kraus acquired the cinema in September 1989 and left his legal career to operate it full-time.

• 1979

  Veo and Burnett ownership period begins

  [1]Labia Theatreen.wikipedia.org

  Mario Veo and Ingrid Burnett became owners of the cinema, remaining associated with it until 1989.

• 1970

  Ownership passes to Wolf Miknowski

  [1]Labia Theatreen.wikipedia.org

  During the early 1970s, Polish emigrant Wolf Miknowski owned the theatre and enabled its transition toward independent film exhibition.

• 1949

  Opening as a live-performance theatre

  [1]Labia Theatreen.wikipedia.org

  Princess Labia opened the former Italian Embassy ballroom as a theatre on 16 May 1949. The venue initially focused on live performance, with films shown when no stage production was scheduled.

A historic, independent and culturally oriented cinema offering alternative film programming in an informal heritage setting.

• Cinema programming · 1970

  Independent and art-house film programme

  The Labia’s core offering is a curated programme of independent and art-house films. This programming developed in the early 1970s when the venue was rented for independent screenings and remains central to the theatre’s identity as an alternative to mainstream multiplex exhibition.

• Cinema programming

  Cult and classic cinema

  The theatre is associated with screenings of cult and classic films, giving audiences access to established works and distinctive titles that may receive limited exposure in commercial cinema chains.

• Cinema programming

  Foreign-language films

  Foreign-language cinema, particularly imported European films, has been an important part of the Labia’s programme. Ludi Kraus had previously imported European films before taking ownership, reinforcing the venue’s international and culturally diverse orientation.

• Hospitality services

  Cinema bar, food area and terrace

  Alongside film screenings, the venue offers an expanded visitor experience through a bar, food area and terrace. These additions were made as the historic theatre developed beyond its original auditorium format.

• 2014Digital Gold

  South Africa

  Labia Theatre appealed directly to supporters for funds to purchase digital projectors, improve facilities and renovate its foyer. The campaign attracted 885 contributors and raised more than R550,000 against a stated R2,000,000 target.

  Outcome. Although the fundraising total fell below the target, it helped the theatre install digital projectors in all of its cinemas and supported its modernization.

  Source

• 2014

  Modernization through community crowdfundingStrategy

  Background

  The cinema needed digital projection equipment and improvements to its facilities while preserving its independent identity and historic setting.

  Action taken

  Labia Theatre launched the Digital Gold crowdfunding campaign.

  Aftermath

  The campaign raised more than R550,000 from 885 people and helped bring digital projection to all of the cinema’s screens.

  Crowdfunding raised. More than R550,000 (2014)

  Source

• 2012

  Decision not to screen Roadmap to ApartheidOther

  Background

  The theatre was involved in plans for a free screening of Roadmap to Apartheid, a documentary drawing comparisons between South African apartheid and the Israeli–Palestinian conflict. The owner considered the film politically controversial and apparently one-sided.

  Action taken

  The Labia declined to screen the documentary.

  Aftermath

  The Palestine Solidarity Campaign threatened a boycott and a complaint to the Human Rights Commission. Right2Know alleged that the cinema had succumbed to pressure from the Zionist Federation, while the theatre’s stated rationale concerned the film’s political character.

  Source

1. 1Labia Theatreen.wikipedia.org
2. 2Labia Theatre official websitelabia.co.za