Inspired by both the Paris Opera and the New Orpheum Theatre in Kansas City, the Rialto Theatre was built in 1924 to plans by architect Joseph-Raoul Gariépy. The interior design was entrusted to decorator Emmanuel Briffa. Originally, in addition to the cinema, the Rialto included stores on the ground floor, a ballroom and reception hall, and a rooftop garden patio.

In the early 20th century, more and more movie “palaces” were being built downtown and in Montreal’s neighbourhoods. This meant that they were increasingly in competition with each other. The Rialto was not immune to the phenomenon, and it changed hands several times. The cinema finally closed in 1983: various projects were proposed and the venue saw various incarnations until 2010 including stores, a theatre, a disco and a restaurant/nightclub, none of which was ultimately successful. Over the years, the original marquee and storefronts underwent changes.

During his years as a university student, Ezio Carosielli would admire the Rialto every day while riding the bus to and from classes. Nearly 30 years later, in 2010, he learned that the theatre was up for sale: he toured the building with the then owner, and immediately committed to purchasing it. Restoration work was conducted over several years under the supervision of architect Pierre Beaupré. The artificial-stone façade was renewed, 450 new seats were installed in the balcony, and wood accents as well as the spectacular stained-glass dome were also restored to their former grandeur.

During the work, the theatre remained open to the public. It continues to operate as a cultural venue

The key to the successful repurposing of the Rialto Theatre was maintaining the beauty of the premises. People enjoy attending performances and organizing events at the venue because of its esthetic qualities and the fact that the original interior décor has been entirely preserved.

The business model of the private company that runs the Rialto guaranteed the sustainability of the venue: to finance the renovation and restoration work, the owner leased the theatre and other spaces rather than relying solely on subsidies.

• Management of a heritage property requires patience, but in this case the beauty of the premises was the primary motivation for the restoration project—and, for the company that runs the Rialto Theatre, a key differentiating factor in the marketplace.