Rio Theatre

Rio Theatre is an independent cinema and multidisciplinary arts venue in Vancouver, British Columbia. Located in East Vancouver, the theatre began operating in 1938 as a suburban movie house and has passed through several distinct identities, including periods as part of the Odeon chain, a bowling alley, a Chinese-language cinema, and Broadway Cinema. Its present identity developed after Corinne Lea became the owner in 2008 and expanded the venue beyond conventional film exhibition. The Rio combines repertory and contemporary cinema with live entertainment and community programming. Its schedule has included Hollywood releases, independent and local films, midnight screenings, cult-film events, international and local festivals, comedy, queer cinema, burlesque, spoken word, political gatherings, religious services, school programs, family-oriented screenings, and live music. The venue is particularly associated with programming that benefits from a flexible, communal setting rather than a conventional multiplex environment. Its “Movies for Mommies” series, for example, was designed to make cinema more accessible to parents with young children, while its festival and late-night programming has helped establish the theatre as a cultural meeting place. The building has a single-screen configuration with approximately 409 seats, including a balcony, a large stage, backstage facilities, a greenroom, and a lobby concession. A NEC NC2000C digital projector was installed in 2010. The theatre’s physical design reflects its original late-1930s purpose: it was designed by Henry Alwyn Calladine and opened with an auditorium holding approximately 800 people. The Rio’s concession was recognized in Vancouver polling as the leading concession among single-screen theatres in 2010 and 2011. The venue became nationally visible through two public preservation and regulatory campaigns. In 2012, a dispute with British Columbia’s liquor regulator arose after the Rio received a primary liquor licence containing a condition that prohibited all movie and cinematic screenings. Lea argued that the restriction threatened the theatre’s ability to survive as a mixed-use venue. A community-led campaign, supported by Vancouver politicians and provincial legislators, contributed to changes in British Columbia liquor rules. By April 2012, the rules had been amended to permit movie theatres holding the relevant licence to serve alcohol during screenings. In 2018, the theatre launched the “Save the Rio” campaign after developers showed interest in acquiring the building. The campaign combined public advocacy, petitions, direct donations, crowdfunding, celebrity support, and fundraising events. Film and entertainment figures including Ryan Reynolds, Seth Rogen, and Kevin Smith publicly supported the effort; Smith also hosted events at the venue. After approximately seven months, the theatre’s owners acquired the property with support from private donors, investors, public figures, and a $375,000 City of Vancouver grant. The grant required the property to remain primarily a cinema and live-entertainment venue for ten years. The Rio remains known as a survivor of the decline of single-screen cinemas and as an adaptable cultural hub. Its identity is based less on a conventional commercial cinema chain model than on preserving a historic venue while combining film exhibition, live performance, community use, and advocacy for independent cultural spaces. The venue also entered popular culture through “Meet Me at the Rio,” a song by Canadian band Dear Rouge inspired by the theatre.

The Rio Theatre opened in Vancouver in 1938 as a purpose-built suburban cinema. Designed by architect Henry Alwyn Calladine, the building was promoted as an unusually modern theatre focused on sight, sound, comfort, and fire safety. Its original auditorium held approximately 800 seats, with seating arranged to improve sightlines toward the screen. The opening programme used a double-bill format, reflecting the operating practices of cinemas of the period. The theatre later became part of the Odeon chain, which operated single-screen cinemas across Canada. The rise of television placed pressure on neighbourhood movie houses, and the Rio closed as a cinema in 1955. From 1959 until 1976, the building operated as the Rio Bowl, a bowling alley run by Grandview Recreations. This period illustrates the broader adaptation of historic cinemas as changing entertainment habits reduced demand for traditional film exhibition. The building returned to cinema use in 1982 as the Golden Princess Theatre, presenting Chinese-language films. In 2001 it changed hands again and operated as Broadway Cinema. These successive identities allowed the building to remain an entertainment venue even as its audience, programming, and commercial model changed. A major transformation began in 2008, when Corinne Lea became the owner. Rather than operating solely as a conventional movie theatre, Lea expanded the Rio into an independent art house and multidisciplinary venue. Film programming continued to include mainstream releases, but the schedule also incorporated independent productions, local filmmakers, festivals, repertory titles, midnight cult screenings, comedy, queer cinema, burlesque, live music, spoken word, political events, religious services, school visits, and family-oriented programming. This broader use helped the Rio function as a cultural hub for East Vancouver. The venue’s physical facilities supported that expansion. The single-screen auditorium seats approximately 409 people, including balcony seating. A large stage and backstage greenroom accommodate performers, while the lobby provides concessions and gathering space. Digital projection was upgraded with a NEC NC2000C projector in 2010. The theatre’s concession received local recognition in 2010 and 2011, when it was voted the best concession among Vancouver single-screen theatres. The Rio’s first major public preservation struggle concerned liquor regulation. In 2010, Lea applied for a primary liquor licence to make live music and other events more financially viable. When the licence was issued in January 2012, it contained a condition that prohibited the venue from showing movies or any other cinematic screenings. Lea argued that signing the licence under that condition placed the theatre’s survival at risk, particularly as single-screen cinemas were disappearing from Vancouver. The dispute became a community political campaign involving social-media organizing, public advocacy, provincial representatives, and Vancouver civic politicians. The liquor regulator initially defended the restriction on the basis of existing rules and public-safety concerns. The provincial government announced regulatory changes in February 2012, and by April the rules had been amended so that qualifying movie theatres with primary liquor licences could serve alcohol during film screenings. The campaign lasted about four months and placed severe financial pressure on the Rio, but it helped establish a regulatory model more compatible with hybrid cinema and live-event venues. Lea later received a Diamond Jubilee Governor General award in January 2013 in recognition associated with the successful effort. A second major preservation campaign began in 2018. Developers had shown interest in purchasing the building, prompting the theatre to organize “Save the Rio.” The campaign combined an Indiegogo effort, direct donations, petitions, public advocacy, and support from film and entertainment personalities. Ryan Reynolds, Seth Rogen, and Kevin Smith were among the public supporters, and Smith hosted fundraising events at the theatre. After around seven months, the owners successfully acquired the property through a combination of contributions from individuals, investors, public figures, and a $375,000 City of Vancouver grant. The grant included a ten-year condition requiring the property to remain primarily a cinema and live-entertainment venue. The Rio’s history therefore combines the evolution of neighbourhood cinema, adaptation to changing entertainment markets, independent cultural programming, and organized community preservation. It remains an active venue whose distinctiveness comes from integrating film exhibition with live performance and civic cultural use rather than operating as a standard multiplex.

• 2018

  Save the Rio campaign preserves the property

  [1]Rio Theatreen.wikipedia.org

  The owners acquire the building with community, investor, public-figure, and municipal support, including a $375,000 City of Vancouver grant.

• 2012

  Liquor-regulation campaign succeeds

  [1]Rio Theatreen.wikipedia.org

  After a public campaign over a licence condition banning cinematic screenings, British Columbia changes its liquor rules to accommodate film screenings at qualifying venues.

• 2010

  Digital projection installed

  [1]Rio Theatreen.wikipedia.org

  A NEC NC2000C digital projector is installed in the projection room.

• 2008

  Corinne Lea expands the venue’s role

  [1]Rio Theatreen.wikipedia.org

  Under new owner Corinne Lea, the venue begins developing into an independent art house and multidisciplinary cultural centre.

• 2001

  Becomes Broadway Cinema

  [1]Rio Theatreen.wikipedia.org

  The theatre changes ownership and operates under the Broadway Cinema name.

• 1982

  Reopens as Golden Princess Theatre

  [1]Rio Theatreen.wikipedia.org

  The building returns to movie exhibition as the Golden Princess Theatre, showing Chinese-language films.

• 1976

  Bowling-alley period ends

  [1]Rio Theatreen.wikipedia.org

  The Rio Bowl operation ends, preceding the building’s return to cinema use.

• 1959

  Building becomes Rio Bowl

  [1]Rio Theatreen.wikipedia.org

  The venue is converted into a bowling alley operated by Grandview Recreations.

• 1955

  Cinema closes during the television era

  [1]Rio Theatreen.wikipedia.org

  The Rio ceases operating as a movie theatre amid the growing impact of television and the decline of several single-screen cinemas.

• 1938

  Rio Theatre opens

  [1]Rio Theatreen.wikipedia.org

  The purpose-built theatre opens in East Vancouver with an auditorium of approximately 800 seats and a programme of motion pictures.

An independent, community-oriented cinema and live-arts venue that preserves a historic single-screen theatre while combining film, performance, festivals, and civic cultural activity.

• Cinema programming · 1938

  Feature-film exhibition

  The Rio presents a mix of mainstream releases, independent films, local productions, repertory titles, and special screenings. Its programming model extends beyond standard commercial schedules by using the single-screen venue for films that benefit from a shared, event-like atmosphere.

• Specialty cinema

  Midnight and cult-film screenings

  Late-night screenings of cult classics and genre titles are part of the Rio’s identity. These events emphasize audience participation and the social character of cinema, distinguishing the venue from a conventional daytime film outlet.

• Festival programming

  Film festivals and community cinema

  The venue hosts local and international film festivals, independent filmmaker presentations, queer film events, and other curated programmes. It also supports screenings and tours for local public schools.

• Live arts · 2008

  Live entertainment

  A large stage and backstage facilities allow the Rio to present live music, comedy, burlesque, spoken word, and other multidisciplinary performances. This live-events capacity became central to the venue’s post-2008 business model.

• Family-accessible cinema

  Movies for Mommies

  The toddler-friendly series is designed for parents and young children, making film attendance more accessible to families who may find conventional screenings difficult.

• Cinema hospitality

  Concessions

  The lobby concession supports the theatre’s cinema and event operations and received local recognition as a leading concession among Vancouver single-screen theatres in 2010 and 2011.

• 2018Save the Rio

  Vancouver · Canada

  The preservation campaign responded to interest from local developers in purchasing the theatre building. It combined an Indiegogo campaign, petitions, direct donations, investors, public advocacy, and support from entertainment figures including Ryan Reynolds, Seth Rogen, and Kevin Smith.

  Outcome. After approximately seven months, the owners acquired the property. A $375,000 City of Vancouver grant supported the purchase subject to a ten-year requirement that the site remain primarily a cinema and live-entertainment venue.

  Source
• 2012Rio Theatre liquor-law campaign

  British Columbia · Canada

  The theatre challenged a liquor-licence condition that prohibited all movie and cinematic screenings. Community supporters used social media, public advocacy, and political engagement to argue that the restriction was incompatible with the survival of a hybrid cinema and live-events venue.

  Outcome. British Columbia changed its liquor rules in 2012, ultimately allowing qualifying movie theatres with primary liquor licences to serve alcohol during film screenings.

  Source

• 2018

  Secure ownership of the theatre propertyOther

  Background

  Potential redevelopment created a risk that the historic cinema could be lost or repurposed.

  Action taken

  The theatre organized the Save the Rio campaign and raised support from donors, investors, public figures, and the City of Vancouver.

  Aftermath

  The owners acquired the property, with municipal funding tied to continued cinema and live-entertainment use for ten years.

  City of Vancouver grant. $375,000 (2018)

  Source

• 2012

  Continue campaigning for integrated cinema and alcohol serviceStrategy

  Background

  The liquor licence issued to the theatre contained a condition banning all cinematic screenings, creating a conflict between regulatory compliance and the venue’s core business.

  Action taken

  The Rio continued public and political advocacy rather than accepting a permanent separation between licensed live events and film screenings.

  Aftermath

  Provincial liquor rules were amended to allow qualifying movie theatres to serve alcohol during screenings.

  Source

• 2008

  Adopt a multidisciplinary venue modelStrategy

  Background

  A movies-only business model was increasingly difficult for independent single-screen theatres, while the Rio had facilities suitable for both film and stage events.

  Action taken

  Under Corinne Lea, the theatre expanded into live music, performance, festivals, community events, and multimedia programming alongside cinema.

  Aftermath

  The Rio developed a broader cultural identity and became a prominent independent arts hub in East Vancouver.

  Source

1. 1Rio Theatreen.wikipedia.org
2. 2Rio Theatre official websiteriotheatre.ca