Cabaret Lion d’Or

1. Overview

The Cabaret Lion d’Or occupies a distinctive place in the history of entertainment in Montreal. Unlike many historic cabarets that disappeared or were radically altered, the Lion d’Or has preserved a remarkable portion of its original architectural character and atmosphere.

Its history connects two distinct periods of Montreal cultural life. From 1930 to 1973, it operated as a genuine popular neighbourhood cabaret, combining music, dancing, vaudeville, chanson and nightlife. Beginning in 1987, a gradual restoration allowed it to be reborn as a performance venue while preserving its Art Deco identity.

This continuity makes the Lion d’Or a rare bridge between the Montreal cabaret era of the mid-20th century and the contemporary cultural scene.

2. 1923: Hôtel Papineau

The story of the Lion d’Or begins before the cabaret itself was built. In 1923, the Hôtel Papineau opened in the Ontario Street area. The establishment was managed by Leda Duhamel, a particularly notable example of a woman running a Montreal hotel at the time.

The hotel accommodated, among others, workers employed in the construction of the future Jacques Cartier Bridge. When the bridge was completed in 1930, much of that temporary clientele disappeared. Leda Duhamel then sought a new way to maintain the vitality of her establishment.

She chose entertainment and had a cabaret built. Hôtel Papineau was simultaneously expanded by two additional floors directly above the new venue.

3. 1930: Birth of the Lion d’Or

The Lion d’Or opened in 1930, at a time when Montreal was developing a major culture of cabarets, clubs and entertainment venues.

The establishment was not intended solely for tourists or wealthy patrons. Its first identity was that of a neighbourhood cabaret, deeply rooted in the popular life of Montreal’s east end.

Leda Duhamel firmly managed the establishment, which remained under family control for more than four decades, until the closure of its first incarnation in 1973.

4. A Popular Neighbourhood Cabaret

During its liveliest decades, the Lion d’Or offered a continuous entertainment format. A house orchestra provided the music while a master of ceremonies introduced the various artists throughout the evening.

Singers, dancers, magicians, Latin orchestras, vaudeville performers, striptease artists and variety acts followed one another on stage. Some acts could be presented as many as three times during the same evening.

Audiences also came to dance. Beer, reputedly very inexpensive, contributed to the venue’s lively atmosphere. On Sunday afternoons, the Lion d’Or offered its stage to new talent, giving the cabaret a role as a launching pad that strikingly foreshadowed its contemporary function.

The room was not used exclusively for entertainment. Weddings, celebrations and family receptions were also held there, reinforcing its role as a neighbourhood gathering place.

5. Artists and Performances

Several major figures of Quebec popular culture are associated with the history of the Lion d’Or. Alys Robi performed there after the Second World War, while Willie Lamothe and Fernand Gignac are also among the personalities connected with the venue.

Memories surrounding the Lion d’Or have also linked it with major American performers. Duke Ellington and Cab Calloway are said to have visited the establishment while in Montreal. In the absence of definitive documentation, however, these visits should be regarded as part of the venue’s oral history rather than as firmly established appearances.

This combination of local performers, popular entertainment and stories passed down over generations contributed significantly to the mythology of the Lion d’Or.

6. The Other Side of the Night

Like several Montreal nightlife establishments of the period, the Lion d’Or also had a darker side to its history. The presence of the Hôtel Papineau directly above the cabaret encouraged a nightlife economy that extended well beyond the performance itself.

Published accounts and recollections refer to prostitution, trafficking and tensions with organized crime. According to these accounts, sex workers could meet clients inside the cabaret before taking them upstairs to rooms in the hotel.

Journalist Jean-Christophe Laurence also reported the presence of cigarette girls who, alongside cigarettes, offered what was then called “orchestra tobacco,” an expression used for marijuana.

The owners’ independence is also said to have generated tensions with organized crime, which allegedly attempted to impose its “protection” on the establishment. Several violent episodes became part of the Lion d’Or’s collective memory.

Bassist Fernand Poupart, who visited the establishment professionally in the late 1950s, likewise remembered an intimidating place associated with shootings, prostitution and a sometimes disreputable clientele.

7. Decline and Closure

Beginning in the late 1950s, the golden age of Montreal cabarets gradually began to fade. Entertainment habits changed, television entered people’s homes, and morality campaigns profoundly transformed the city’s nightlife.

Already burdened by a difficult reputation, the Lion d’Or gradually entered a period of decline. The cabaret’s first major era came to an end in 1973.

That final year was marked by tragedy: Jacques Riel, then owner of the Lion d’Or, was murdered. His death symbolically marked the end of more than forty years of family operation.

8. 1987: The Revival

Between 1974 and 1987, the Lion d’Or changed hands several times and gradually fell into obscurity. Despite these difficult years, much of the room remained astonishingly intact.

The turning point came in 1987, when Jean Filippi and Pierre Charron, owners of the neighbouring restaurant Au Petit Extra, acquired the cabaret.

They found a venue in need of major repairs, but with a solid structure and an architectural character that had miraculously survived. Rather than modernizing the space to the point of erasing its identity, they chose to restore it with respect for its history.

A new era began. With Jérôme Fèvre-Burdy involved in programming, the Lion d’Or gradually regained a genuine artistic vocation.

9. A New Cultural Life

Beginning in the late 1980s, the Lion d’Or once again became a sought-after venue for artists and producers. Its preserved room, intimate atmosphere and period aesthetic allowed it to develop an identity unlike that of modern performance halls.

Filmmakers quickly recognized its visual potential. Productions such as Les portes tournantes, Une histoire inventée and Bethune used the Lion d’Or as a filming location.

The Festival de théâtre des Amériques also held activities there between 1989 and 1993, while the group UZEB recorded a live album at the venue.

A new generation of artists subsequently became associated with the room. Jorane, Bïa, Marie-Jo Thério, Marc Déry and Natalie Choquette are among the performers whose careers intersected with the Lion d’Or during this period of renewal.

10. The 2002 Restoration

Another important step was taken in 2002. With financial support from the SODEC, the Lion d’Or underwent a major renovation intended to reconcile heritage preservation with contemporary technical requirements.

The venue received new sound and lighting systems, while the stage was enlarged. A spacious dressing room was created in the basement to better meet the needs of performers.

The work was not limited to technical equipment. An old photograph of the Lion d’Or was used as a reference to recover aspects of its historic appearance. The columns and ornamental basins set within the arches were highlighted once again, while architectural details throughout the room were emphasized.

Chandeliers modelled on the originals completed the intervention, reinforcing the impression of entering a Montreal cabaret from the 1930s.

11. An Art Deco Survivor

The historical value of the Lion d’Or lies not only in the artists who appeared there. The room itself is an essential part of its story.

While many historic Montreal cabarets were demolished, converted or completely remodelled, the Lion d’Or preserved its Art Deco character. The foyer, floor, bar, windows, lighting fixtures and numerous decorative elements were restored with the aim of respecting the spirit of the original room.

This preservation makes the Lion d’Or one of the rare places in Montreal where the physical atmosphere of the historic cabaret era can still be experienced.

12. Alys Robi and the Memory of Montreal Cabarets

The connection between the Lion d’Or and the golden age of Montreal cabarets is now inscribed on the building itself. In 2013, the organization MU created a large exterior mural dedicated to Alys Robi.

Entitled Laissez-la toujours chanter, the work pays tribute to the singer while more broadly celebrating the golden age of Montreal cabarets. The choice of the Lion d’Or was deliberate: Alys Robi performed there on several occasions during her career.

The mural thus transforms the exterior of the building into a monument to a history that continues inside: that of Montreal popular entertainment and the artists who shaped it.

13. The Lion d’Or Today

The Lion d’Or remains an active performance venue today. Its programming encompasses chanson, jazz, blues, theatre, comedy, cabaret, world music and a variety of cultural events.

The room also continues to host weddings, receptions, launches, corporate events and private functions, perpetuating a role it already fulfilled during its first era.

Its current capacity is listed as 255 people. The Lion d’Or remains closely associated with the restaurant Au Petit Extra, located in the same building complex.

Nearly a century after opening, the Lion d’Or therefore represents an exceptional example of continuity. It is not simply a former cabaret preserved as a heritage curiosity: it remains a place where artists perform, audiences gather and new chapters of Montreal cultural history continue to be written.

14. Timeline

1923 — The Hôtel Papineau opens, managed by Leda Duhamel.

1930 — After completion of the Jacques Cartier Bridge, Leda Duhamel has the Lion d’Or built and expands the hotel above the new venue.

1930s–1950s — The Lion d’Or enjoys its major period as a popular cabaret, presenting dancing, chanson, orchestras, vaudeville, variety acts and emerging talent.

1940s — Alys Robi performs at the Lion d’Or, where she would appear on several occasions.

Late 1950s — The establishment gradually begins to lose the prominence of its peak years.

1973 — Owner Jacques Riel is murdered, marking the end of the Lion d’Or’s first major era.

1974–1987 — The room changes ownership several times and passes through a long period of obscurity.

1987 — Jean Filippi and Pierre Charron, owners of Au Petit Extra, acquire the Lion d’Or and begin restoring it.

1989–1993 — The Festival de théâtre des Amériques uses the Lion d’Or as part of its activities.

1990s — The Lion d’Or gradually regains an important place in Montreal’s artistic life.

1999 — Creation of the private salon Le Lionceau.

2002 — Major restoration supported by SODEC: technical modernization, stage expansion, a new dressing room and restoration of decorative elements.

2013 — Creation of the mural Laissez-la toujours chanter, dedicated to Alys Robi and the golden age of Montreal cabarets.

Today — Cabaret Lion d’Or remains active at 1676 Ontario Street East and continues to present a diverse range of artistic programming.