Article originally published February 11, 2014 by The Grid online (thegridto.com).

In the face of King West’s rampant condo-ization and nightclub-ificaiton, this beloved, recently shuttered basement venue held it down for underground sounds—and continues to do so at a newly opened space in the Annex.

BY: DENISE BENSON

Club: Footwork, 425 Adelaide W.

Years in operation: 2005-2013

History: The story of one of this city’s most beloved, internationally recognized house and techno clubs begins with the unlikely pairing of two men raised on rock.

Hamilton native Joel Smye was a long-haired fan of bands like Pearl Jam and Rage Against the Machine until his parents sent him to Switzerland to complete high school. While there, he also got an education in rave. By 1997, he hit up massive Toronto parties each weekend, and taught himself to DJ. As Baby Joel, he would become known for his love of funky Chicago house.

Originally from Ottawa, Stephan Philion moved to Toronto 11 years ago, already experienced in the hospitality industry, and in throwing house parties, which were largely a means to accumulate sound and lighting gear. He had a lean toward Britpop and grunge until party promoter and friend Gairy Brown took Philion to Fly Nightclub, where he fell for dance music.

Smye and Philion met in the early 2000s, while waiters at Brassai. The two talked music. Philion got to hear Smye DJ, loved his take on house, and invited the DJ to check a club sound system that was just gathering dust at the time.

“I expected a couple of JBLs beside a TV or something like that,” admits Smye. “But, basically, the bass bins that would later be in Footwork were laid out flat across Steph’s bedroom floor. He had to crawl over them to get to his bed.

“We decided we should do something with them, so talked about doing a one-off at 99 Sudbury.”

Joel Syme (left) and Stephan Philion. Photo by John Mitchell (http://derinkuyu.ca/).

At the time, 99 was still operating as a film studio, with occasional late-night parties. Philion and Smye had success with theirs, and came to manage the studio’s bar on weekends from 2003 to 2005.

Smye DJed a lot, and the pair booked in underground house and techno DJs and promoters like Mike Gleeson, Mat Lunnen, Lee Osborne, and Fukhouse. They lost the space when 99 Sudbury landed a year-long film contract.

As luck would have it, two regulars at Brassai frequently asked the duo about their parties.

“I think it was the same week that we were out of 99 that they said, ‘You know, we have this space that’s right around the corner. We just changed the locks, everything is up to code, and the liquor permit is in place—you’d just have to come and make it your own,’” recalls Smye.

Previously, the basement at Adelaide and Brant had housed piano bar Cry Baby, and dance club The Matrix before that. Initially, it didn’t feel like the right space for Smye and Philion, especially with its many windows that looked onto Adelaide.

“Then we came up with the idea of flipping it around, and having the entrance be from the alley, while boarding up the windows to make that half the dancefloor area,” Smye recounts.

After a month-and-a-half and “a curbed rent so we could have the opportunity to start out as cheaply as possible,” the two opened Footwork Dancebar in May of 2005.

They launched in a rapidly changing area. Soulful-underground-house club Roxy Blu, located across the street on Brant, would close that July, replaced by an upscale restaurant. Trendy spots like Brant House and Century Room were new to the neighbourhood.

Footwork was different. Not only was it located in a nondescript office building, the entrance was down an unmarked alley on its south side. Equally disorienting on first visit was the short maze of a hallway you stepped into. Often jammed with people both entering the club and exiting to smoke, the hallway was soundproofed and painted black. Senses kicked into overdrive upon entering the pulsing main space. There was a lounge area and some seating, but Footwork was about two main things: music and dancing.

Photo courtesy of Jonathan Rosa.

Why it was important: “We were pretty green at the time, and didn’t really know what we were getting into,” Smye confesses. “Our initial concept wasn’t really to be a full-on nightclub; we had some club nights that we wanted to do, but our goal was modeled on something a little more like Element—a dance bar.”

Still, they worked to bring warehouse sounds and DJs to a licensed club, with mixed results.

“We had a bit of cockiness to us, I think, when we opened because we had done 99 Sudbury for a couple of years, and it was successful,” says Smye. “When we were there, it was really easy to get people to come out, for obvious reasons.

“We thought that would translate easily to a bar and club. What we found was that our crowd came at two in the morning, looking for something to drink. We had to explain that it was a legit operation. People were a bit confused for a while.”

Though the Activate crew had some success promoting Wednesdays, and occasional Thursdays were busy, Footwork soon opened on weekends only. While legal capacity was only 255 people, they rarely reached that.

“The first year was rocky,” shares Smye. “It was off-and-on, which left us scratching our heads a little.

“We really got our stride going when DJ Addy brought us a Friday weekly a bit before the start of year two. Addy brought with him a crowd, a sound and a group of DJs who we hadn’t really worked with before.”

Addy at Footwork. Photo by John Mitchell (http://derinkuyu.ca/).

DJing professionally since the late ’90s, Addy Ranh had held residencies at clubs including The Guvernment, System Soundbar, Film Lounge, Turbo, Tonic, and Mad Bar. He knew Joel from Hamilton clubs, and fell for Footwork on first visit.

“I loved its high ceiling, alleyway entrance, and great owners who truly understand the culture,” says Ranh, who’d proposed Domestic Fridays, with a focus on local talent.

Main residents included Addy, Deko-ze, Carlo Lio, The Junkies (then called Vinyl Junkies), Sydney Blu, Nathan Barato, and Joee Cons. Domestic was busy from the start.

“The launch was slammed, with 400 people inside, and 300 trying to get in,” says Ranh. “Traffic backed up on Brant Street. Security was overwhelmed. Chuck Liddell was there.”

Perhaps the former UFC champ was lured by Domestic’s tough sound.

“Fridays’ sound was clubbier,” Smye says. “Its DJs played at places like The Guvernment and Comfort Zone, and had more of that pumping, hard-house vibe, which is also kind of a Toronto sound.

“I give Addy a lot of credit for helping us to get cooking, and to find a good balance because Domestic Fridays allowed us to focus energy on developing our Saturday sound.”

“Footwork came around at the right time—when [so many] clubs were switching to mainstream hip-hop and Top 40,” credits Ranh, in turn. “We went from having seven house clubs to literally two, Guvernment and Footwork. Footwork kept the torch alive, and fed the culture.”

Carlo Lio (left) and Nathan Barato a.k.a. The Roaches at Footwork. Photo by John Mitchell.

To do so, Smye and Philion worked with a variety of promoters on Saturday nights. Each brought their own sonic specialty, like Fukhouse for techno, Vunk for progressive house, and Nine for funky Chicago house. After Nine folded, its main resident DJ Mike Gleeson launched Bounce with Justin Riva.

“The Bounce crew became, and still are, our go-to guys for Chicago house, and related stuff,” Smye says. “When Fukhouse disbanded, Platform took over that techno role.”

“Footwork really was one of the only places you could reliably go to hear great underground music, especially in its earlier days,” confirms Gleeson, who’d DJed in Hamilton before going on to do Hustlin’ parties with Mat Lunnen at venues including Boa Redux and 99 Sudbury. “That made Footwork a hub for underground electronic music, and also provided a much-needed base from which the scene could survive and grow. The musical diversity attracted all kinds of different people; you can’t have a strong scene without it.”

Like Gleeson, Michael Babb a.k.a. DJ/producer Deko-ze was one of the earliest DJs to play at Footwork, and was impressed.

“Excuse my crassness, but I got an erection when I first saw the DJ booth,” says the notoriously forthright Babb, a veteran of the country’s top clubs and raves.

“You could immediately tell it was a DJ, Joel, who had overseen its design. So many club owners don’t realize that us DJs can perform at our best when the booth is put together properly. It’s also refreshing and rare to find owners who want to promote good quality music rather than solely make money.”

As a result, the skilled and energetic Deko-ze would go on to spin his chunky sounds at Footwork throughout the club’s history, even hosting annual birthday and Christmas specials.

Stephan Philion. Photo by Sasha Niveole from Purple Tree Photography.

Philion and Smye, in fact, got a whole lot of things right at Footwork, including sound and lights. Lighting was simple, but effective while sound was rich and full. The system always sounded tuned.

“It was pretty much always the same system in there,” says Smye. “We added a couple of pieces over the years, but I think it was just that we had the right pieces and the right amount for the room. It was never about overkill; it was about having sound that was appropriate.”

The club’s size and floor plan also worked to its advantage on many fronts.

“Footwork had a strange layout, but a very positive and contagious floor energy,” describes Gleeson. “It was small enough to be intimate and, as a DJ, make a direct connection with the dancers, yet big enough to host amazing artists and events.”

Jonathan Rosa. Photo by John Mitchell (http://derinkuyu.ca/).

“From a DJ’s perspective, something about that hourglass shape made it easier to connect with and control the crowd’s energy and vibe,” agrees Jonathan Rosa a.k.a. Jon Jon, a resident at Footwork since 2007 who’s also been involved in the club’s marketing and promotions since 2009. “Even the international touring DJs, like Guy Gerber and Marco Carola, emphasized this.”

Footwork also gained a reputation for its audience.

“Footwork crowds knew their music,” explains Philion. “More than once, big DJs would tell us that they were nervous to play. A lot of that had to do with the proximity of the people, but also the feel in the room, the vibe, and the knowledge of their fans.”

Put simply, it felt good to be in a room where you could trust that most people there also wanted to get lost in the music.

Footwork crowd early in the club’s history. Photo courtesy of Jonathan Rosa.

Photo courtesy of Jonathan Rosa.

“Footwork was a music-focussed venue, from the programming to the people who came there to dance,” says Smye. “This created a vibe that was different from a lot of other clubs.

“The magic of dance music, I’ve always felt, is that point in the night where there’s all sorts of people mixed into the room and, ultimately, they all really click together. Given the size of Footwork, that seemed to happen pretty regularly.”

“It’s no secret that we have had a long list of great nightclubs here in Toronto, and I’ve pretty much been to and worked at them all at one point or another,” offers in-demand DJ/producer Carlo Lio. “But Footwork was all about the music from day one, and I feel people really noticed this. It was a place where everything just felt right, and that is never easy to find. Footwork really became a home for all of us, whether you were a partygoer, DJ or promoter.”

Footwork’s Domestic weekly was the globetrotting house and tech talent’s “first real residency in the city.” Even as his popularity soared, Lio continued to guest at the re-branded Fridays (Rehab and then Luv This City), open on some Saturdays, and produced parties including UNION, a hugely popular collaborative gig also featuring Footwork favourites Nathan Barato and The Junkies.

Union flyer courtesy of Jonathan Rosa.

“Footwork played a key role in my career,” Lio emphasizes. “It has moulded me to become the artist I am today. It’s given me the chance to play with some of the biggest DJs on the planet, and has taught me tonnes about the industry as a whole. The Footwork crowd itself was like a drug; playing for the right people who love the music just as much as you do is indescribable. It can never get old!”

Footwork’s commitment to Toronto electronic music talent has been key to the careers of many who now tour the world.

In addition to Lio, Barato, The Junkies, and Sydney Blu, people like Jamie Kidd, James Teej, My Favorite Robot, and Art Department come to mind.

“It was more by circumstance than design, but Footwork did become a breeding ground for a lot of talents who have seen success around the world,” allows Smye. “Take the No.19 crew, Nitin and Jonny White [also half of Art Department]. We kind of grew up together. They brought in DJs and would also be on the bill, but had a tough time doing events at times because that sound they were into wasn’t really taking off. They were friends, and we wanted to do more with them, but from a club perspective, we didn’t always find that their parties made the room happen. I give them credit; they could have easily had more nights with us if they’d sometimes picked up the pace a little, but they stuck with their sound, and obviously have done well with it.”

Nitin now tours regularly, and is at work on his debut album. Addy is also known as a producer, having released music on labels including Toolroom, Hot Fingers, and Younan Music. Rosa and fellow Footwork resident DJ Jeff Button are among the many other Footwork-affiliated names that have begun to rise.

“The Footwork guys have gone out of their way to champion some of Toronto’s strong local talent,” confirms Babb a.k.a. Deko-ze. “They’ve been teaching the new generation that there doesn’t need to be an international DJ to bring credibility to a night.”

With its small size, and dedicated following, Footwork was also well-positioned to present emergent sounds and artists. Saturdays, in particular, reflected shifts in underground house and tech. An example is following the No.19 lead to slowed beats, as Footwork did when they teamed up with Jazz Spinder to present the Modern Love Affair series.

“There was this new sound coming up – deeper, with a slower tempo—and a lot of the artists weren’t yet well known or well-received in Toronto, even though it was getting really big elsewhere in the world,” says Smye.

“We created a brand so that the parties would be more about that brand, and people would just trust us that the DJs would be quality. Toronto has a knack for getting stuck on the same old stuff sometimes, so we wanted to give ourselves some freedom to bring in new acts, and take some chances.”

Modern Love Affair flyer courtesy of Jonathan Rosa.

“Clubs these days get stuck with sounds or DJs, or only book what’s hot and drop what’s not,” adds Lio. “Footwork was the opposite; they evolved. Their ear was always to the ground; they moulded with the new underground music, supported rising talents, and were willing to give it all a shot. You can’t beat a mentality like that. This is one of those special clubs that DJs will take less of a fee to play at. It was, and is, an internationally renowned club.”

The club did gain a surprisingly large international rep given its relatively small size. Footwork even clocked in at number 36 in last year’s Top 100 Clubs list compiled by DJ Mag.

“That caught us off-guard, to be honest,” allows Smye. “I think what got a good buzz going around the world were the DJs coming in, and having such a great time playing there. If you ever stood in the Footwork DJ booth when the night was going off, it really was the best seat in the house. You had a great view, you were close to the crowd—it just had such an intimate feel, and a lot of the DJs we booked played at mega-clubs so they’d come to Footwork and it would bring them back, probably, to the feelings they had when the first got into playing.”

A packed Footwork crowd. Photo by John Mitchell (http://derinkuyu.ca/).

Who else played/worked there: Several hundred local and international DJs graced Footwork’s booth during the club’s eight-year-run. Everyone I speak with has favourite memories.

“Two standout DJs who played with us a lot in the early years, and have become good friends, are Lee Burridge and Green Velvet,” offers Smye. “We still work with both of them a lot.”

“Lee Burridge, hands down, every time,” agrees longtime clubber and head Footwork bartender Kellie Nelles. “He’s a killer DJ, an amazing spirit, and just fun all around. I won’t forget the time Lee DJed from the dancefloor.

“Also, Richie Hawtin on a Thursday—how much better could it get than hearing him at an intimate venue like Footwork? Of course, Green Velvet: I remember the night he played nearby, but came in to Footwork and sang happy birthday to himself.”

While Nelles also makes mention of Dubfire, Steve Bug, Jamie Jones, Derrick Carter, Lee Foss, and Stephan Bodzin, many people highlight Danny Howell’s Footwork debut.

“Danny was booked to play open till close, so from 10 p.m. to 5 a.m.,” Smye says. “We came up with the concept of doing a cocktail hour from 9-10 p.m., with no music on whatsoever. But Danny’s records got lost at the airport, and I was there trying to get him.

“By 10 o’clock, Footwork was at capacity. The anticipation had really built, the room was already getting sweaty, and the DJ hadn’t shown up yet. At about 10:20, the door opened, there was Danny, and the whole crowd started to chant his name. Danny is kind of a shy character, and was pretty overwhelmed by what he walked into—a room with no music, and getting to put his first record on for a packed club.”

Deadmau5 made his Toronto debut at Footwork in 2007, and returned as a surprise guest during Sydney Blu’s birthday years later. (Click through the photo gallery at the top of this article for scenes from these and other fondly remembered parties at Footwork.)

“Harry Romero was one of my favourite DJs to come through,” enthuses Deko-ze. “My spot was in the middle of the dancefloor for his entire set. When DJ Dan was in, it was always a zoo! I love seeing a crowd raging with crazy energy!”

“On big nights, the energy levels could get pretty crazy,” concurs Rosa. “I remember being in the backroom one night, and hearing the crowd go off; they sounded just like people going up and down on a roller coaster.”

That could have been in February 2007, on the night that AD/D presented Britain’s Switch, a.k.a. Solid Groove.

“Switch was a big one for me,” says an excited Philion. “That was a totally different type of music as well—it was fresh and new. I so remember that night; it was just relentless, track after track. The walls were throbbing. Every surface that people could stand on, they did.”

“Switch’s laptop kept shutting off in the middle of a track, and every time it stopped, that just made people go even crazier,” adds Gleeson. “I’ve never seen people dancing on the bar, and those narrow, six-inch-wide drink ledges before. Between that, and the slow torrent of condensation raining down from the ceiling because of the heat, I can’t recall a more intense night!

“And the second time we brought Sonny Fodera was also incredible. It was so packed so early, and so high in positive energy, with smiles all around.”

While other promoters, including HouseAddict, Boogie Inc., I/O Productions, Box of Kittens, and Embrace all presented multiple shows at Footwork, one promo crew especially stands out on the Saturday-night front.

Platform, a partnership of longtime promoter Alex Mastro and DJ/producer Jeremy Kesten, a.k.a. Jeremy K, presented more than a hundred techno and tech-house events at Footwork, beginning in 2007. Like the Footwork founders, Mastro and Kesten have ears tuned for high-quality sounds rising from the electronic-music underground.

“We did events more frequently, and gained some real momentum with Footwork, in the final few years,” says Mastro. “We created a strong bond with the owners, the patrons, and especially the DJs. When artists tell their agent, ‘This is the club I want to play because I know it will be an amazing show,’ it helps to secure better bookings.

“There were many memorable nights, and some that got totally crazy. Marco Carola played a year ago, the night after he played the Hurricane Sandy relief charity in New York put on by Leonardo Di Caprio. Footwork was at capacity by 9:15 p.m., before we normally even open.

“Also, there was the Guy Gerber show where someone pulled the fire alarm. Guy refused to stop playing. He played to an empty club for 20 minutes as the fire department sorted things out. Guy would not leave the decks, and the people didn’t leave outside the venue. When they were let back let in, the dancefloor went crazy.”

More recent Platform presentations included Mano Le Tough, Dixon, and Hot Since 82.

“Many times, you left Footwork feeling you had learned something about music, from one of the top acts on the planet,” says Kesten. “This is the magic of a venue like Footwork: It’s the experience that this music was made for.”

Parallel to this ran Footwork’s frequently mentioned community mindset.

“Footwork’s greatest aspect was its family-oriented environment,” asserts Lio. “We all know this is a cutthroat industry, and people will step on each other to get ahead. But it wasn’t like that with this crew. We all wanted to grow together, and wanted to see everyone do well. It was inspiring, to say the least.

“Our crowd was also very protective of the club,” says Philion. “If there was something not right happening, it would go down the chain, and the problem would be solved, whatever that was. We really wanted Footwork to be a respectful place—no bullshit, no hierarchy.”

Bartenders Veronika Sparkles and Dave Collier. Photo by John Mitchell.

“Our staff was key in that as well,” Smye acknowledges. “We had a pretty consistent crew; a lot of our core people were there for years.”

Nelles, who first worked at 99 Sudbury, bartended throughout Footwork’s history. She was joined early on by Jamie Miller and Erin Allaby.

“Erin was key,” says Smye. “Steph and I weren’t so organized in our early years, and she really took control of things.”

“Jon Rosa is our right-hand man,” adds Philion. “And he can throw a party single-handedly.”

Rosa himself points to Nelles, and Carl Barnes, Footwork’s head of security: “Both are super popular with our patrons; they go above and beyond in the kindness and customer service department.”

“Special mention to Carl for being nicest head bouncer ever,” Platform’s Mastro concurs. “Also, ’JQ,’ the soundtech, is the most wacky-yet-genius tech we have ever worked with. I would compare him to MacGyver. If something was broke, he could fix it with some glue from a Zig-Zag rolling paper, some electrical tape, and wood. He would build things in the blink of and eye, and we had no idea how this was even possible. He saved many situations.”

Carl Barnes (left) and Rafwat Shauki. Photo by Marko Kovacevic, courtesy of Jonathan Rosa.

What happened to it: In a twist that speaks both to Footwork’s success, and the health of Toronto’s electronic-music underground, the club closed last year largely because it got too busy. A new home became necessary.

“It outgrew its capacity,” says Gleeson. “With double or triple the number of people wanting to get in as were allowed, it was time.”

The King West crowd had found Footwork, as did new generations of clubbers. Many went to the club for the first time when it held afterparties related to the Digital Dreams and VELD Festivals.

“There was definitely an influx of new kids who were introduced to the music through [the mainstream success of] EDM, and found their way to us,” says Smye.

On a related note, Footwork partnered last summer with Platform and Embrace to produce the Electric Island picnic and concert series on Centre Island. (It returns this year.)

“Electric Island also helped Footwork,” says Philion. “When you get 5,000 people per event for four events, there will be some new energy as a result. We had a lot of new faces for the last four months. We gave about a month’s notice that we were closing, and heard a lot of ‘What? I’ve only being going here for two weeks!’”

The last year at Footwork was its busiest to date, so it did come as a shock when the closure was announced last September.

Smye, however, says he and Philion knew they wanted to start anew as far back as three years ago.

“We wanted to grow. We’d built ourselves up to a point, and there were other artists we wanted to bring in, but just couldn’t have at Footwork. Also, the neighbourhood had been changing around us. It was one thing after another. Just before we closed, another condo went up right beside us. You’d walk up the alley, and people’s bedrooms and balconies were right there. We were already actively looking, but that factored into it. Mostly, Steph and I were itching to do something new.”

Footwork closed with an incredible two months of programming, with guests including Lee Burridge, Chus+Ceballos, Marcel Dettman, Miss Honey Dijon, Benoit & Sergio, and Hot Since 82.

“Hot Since 82 played a killer, killer set on the second-to-last weekend,” says Nelles. “The vibe was off the hook; we really saw young and old come together during some of our final days. It truly makes me teary-eyed thinking of that night.”

The line-ups outside of Footwork during its final night. Photos by John Mitchell (http://derinkuyu.ca/).

The final weekend of Oct. 18-19 was fully devoted to local talent. Deko-ze played as part of the Last Dance, and greeted Footwork’s closure with a mix of sadness and optimism.

“To me, there are certain clubs that the underground scene will always reminisce about in reverential tones: Industry, Boa, System Soundbar, Turbo, and now Footwork,” says Babb. “I’m reminded of their integral influence whenever I travel; people always mention these clubs when talking about Toronto.” (Deko-ze travels regularly, releases on labels including Jungle Funk, which he co-owns with Jerome Robins, and is a resident at Fly, Guvernment, Comfort Zone, and now CODA.)

Also in October, it was announced that Footwork had purchased the club space at 794 Bathurst, formerly Annex Wreckroom. Their first party was Oct. 26.

“When we found the space, we pretty much had our calendar booked at Footwork, but had a buyer for that club lined up so it all came together,” explains Smye. “We decided that, rather than close down and do parties elsewhere, we would do them in the new space while we renovated during the week. It was a very interesting, gruelling few months of trying to renovate, and get the word out, while also trying not to say too much about what we’d be doing until it was the right time.”

“The last month at Footwork was especially epic,” adds Rosa, who, along with core staff like bartender Nelles and security head Barnes, moved to the new event space, now known to the world as CODA.

“It definitely felt like we left at our peak, but that’s the energy we want to channel straight into CODA. It’s definitely indicative of a scene not only maturing, but also flexin’.”

Joel (left) and Steph, then of Footwork and now of CODA. Photo by John Mitchell (http://derinkuyu.ca/).

CODA opened Jan. 18 with Art Department, and has featured impressive bookings each following week. Attendance has been high, and the reception positive.

With a capacity double that of Footwork, a stage that allows for live shows, and a new floor that adds some bounce for dancing bodies, CODA has the bases covered. Smye tells me they plan to program a variety of sounds, with live shows during the week and electronic music on weekends. Former Wreckroom head honcho Mark Atkinson was also hired as CODA’s General Manager.

Upcoming CODA events include Sydney Blu this Friday (Feb. 14), Yes Yes Y’all’s fifth anniversary (Feb. 21), Soul Clap (Feb. 22), beatboxer Beardyman (Feb. 27), and a Stones Throw special featuring Peanut Butter Wolf and JRocc (March 6).

No matter the music, it will be heard through a high-calibre soundsystems built and installed by PK Sound. Owner Paul Magnuson counts himself as a fan of Footwork.

“If you were to compare the two clubs, the major difference [in sound] would be power,” says Magnuson. “You’ll feel the system like never before, adding to the already intense experience Footwork provided. I really couldn’t compare this system to any other in North America; it’s very unique, even for us. The use of our large format line, and the placement of strategic delays, allows for a concert-like experience in a small room. Anyone attending events at CODA can expect to hear the music as it was intended by the composer or producer, with the all the power, depth, and clarity offered by modern acoustic technology. We’ve been really excited to unleash this system in Toronto, especially at CODA. Steph and Joel are incredibly passionate guys, and care about the people, the music, and the community. They’ve created something truly special.”

Adds Gleeson, “CODA is much bigger, and it might be difficult to retain that same intimate feel that Footwork had, but considering the structural changes they’ve made inside, I think it will be a big improvement.” (Gleeson continues on as a resident there, and recently released Your Love, a collaborative EP recorded with local funky-house duo Speedboats & Big Explosions.)

“It’s always sad to see a place this close to your heart close its doors, but everything does come to an end,” reasons Lio, who soon has releases coming out on Carl Cox’s Intec and Loco Dice’s Desolat in addition to remixing Audion for Spectral Sound.

“I am super happy for Steph and Joel, and the success of Footwork,” Lio adds. “They left on a high note, and I’m happy they didn’t skip a beat because we all know they have so much more to contribute to the Toronto underground. They are vital to this scene.”

The former Footwork space at 425 Adelaide St. W. will soon reopen as The Ace Lounge. Owner Jack (no last name provided) did not care to confirm any further details.

Addendum: inspired by this Then & Now story of Footwork, Toronto DJ Jeff Button and his DigDeep project compiled all of the live sets recorded at the club that they could find on Soundcloud. Enjoy many hours of listening below.

Thank you to participants Addy Ranh, Alex Mastro, Carlo Lio, Joel Smye, Jonathan Rosa, Kellie Nelles, Michael ‘Deko-ze’ Babb, Mike Gleeson, Paul Magnuson, Stephan Philion, and to John Mitchell, Sasha Niveole and Jeff Button.

The post Then & Now: Footwork appeared first on Then and Now: Toronto Nightlife History.

Article originally published October 22, 2012 by The Grid online (thegridto.com).

In this edition of her Toronto-nightlife history series, Denise Benson revisits the biggest, most ambitious, and most fatally expensive nightclub the city has ever seen.

BY: DENISE BENSON

Club: CiRCA, 126 John St.

Years in operation: 2007-2010

History: The four-storey heritage property at 126 John St. has housed many businesses since its main structure was built in 1886. Originally, it was the site of John Burns Carriage Manufacturers, followed by other industrial-machinery companies.

By the early 2000s, the 53,000-square-foot space was an anchor for play in Toronto’s bustling Entertainment District. Mondo video arcade Playdium gave way to mega-dance club Lucid in 2004. The heavily hyped commercial club lasted only a year; its doors were locked in July 2005 when more than $400,000 in back rent was owed to landlord RioCan. (You just don’t mess with Canada’s largest retail real-estate firm.)

Enter New York City club magnate Peter Gatien. The Cornwall, Ontario native had moved to Toronto in 2003, following deportation from the United States. Gatien is, of course, one of the world’s most famous nightclub impresarios, having owned deeply imaginative and influential N.Y.C. hot spots including Limelight, Tunnel, Club USA, and Palladium during his 30-year career.

The one-time millionaire’s very public fall has been well documented in both print and film. To recap: New York police and the Drug Enforcement Agency (DEA) pursued Gatien relentlessly in a 1996 federal investigation that attempted to directly link him with the sale of street drugs, particularly ecstasy, in his clubs. Gatien was acquitted, and then later arrested on tax-evasion charges, to which he pled guilty.

Once in Toronto, Gatien—later joined by wife Alessandra and their son Xander—was interested in exploring a boutique-hotel concept. He tells me during a recent phone interview that a RioCan representative approached him in a park, during a dog walk, in the fall of 2005, and requested that Gatien pay a visit to 126 John.

“I said I didn’t want to do a club, but agreed to go look at it,” he recounts. “Then I saw the space, knew there was a lot of potential, and got excited. I loved the fact that it was large, had high ceilings, and many rooms. There was the ability to have a number of different spaces and soundsystems, and cater to a real cross-section of society.

“It was the right opportunity,” Gatien summarizes, adding that his interest also lay in the fact that “Toronto has a really large creative community. There’s a lot of art here, a lot of fashion, a lot of music comes out of this city, and you need this to sustain what I like my clubs to be.”

Peter Gatien at CiRCA, still under construction, in May 2006. Photo: Charla Jones/Toronto Star.

Gatien’s enthusiasm to develop what would become CiRCA nightclub led to an initial partnership with the men of Hingson Corp, former owners of failed evening spots including Eight Below, Banzai Sushi, and Fez Batik. A 10-year lease commencing April 1, 2006 was signed, with monthly rent averaging over $135,000. Their business relationship fell apart about eight months in. While Hingson made off with the original website URL, Gatien and his team sought investors and worked to build a superclub that promised to be both spectacular and open by summer of 2006.

Litigation lawyer Ari Kulidjian, who’d advised Gatien during his split from Hingson Corp, became Gatien’s equal partner in Arena Entertainment, the new driving force behind CiRCA. Kulidjian became a co-director, shareholder, creditor and Chairman of Arena’s Board of Directors while Gatien served as co-director and president.

The pressure was on, with costs mounting. Although Kulidjian would help secure more than a dozen key investors—including financier Stephan Katmarian, who also become a co-director in Arena Entertainment—the club’s opening was delayed for more than a year. The Alcohol and Gaming Commission of Ontario (AGCO) was hesitant to grant a liquor licence. It held hearings, deferred the decision and, after finally awarding a license in July of 2007, took the unusual step of appealing its own verdict. (Courts later dismissed the appeal and ordered the ACGO to pay CiRCA damages for legal fees.) It’s thought that the City’s concerns about the Entertainment District—specifically the rowdy throngs that packed nightclubs on weekends—played a role in the hold-up.

“I don’t know if it was even so much directed at us,” ventures Gatien. “I think councillor Adam Vaughan’s plan for the area was to not have clubs and [the City] seemed to feel that if CiRCA was successful, it might keep clubs in the Entertainment District.”

Whatever the reasoning, that process and the resulting year’s delay forced Gatien and company to take out ridiculously expensive bridge financing and other loans—some at rates higher than 30 per cent—to stay afloat.

“They were paying rent and staff for more than a year, without any income,” explains Orin Bristol, a former manager at Toronto’s Limelight (no connection to Gatien’s namesake New York club) and System Soundbar who would be hired as CiRCA’s first general manager in July of 2007. “DJs, bookings, suppliers—everything had to be put on hold. Deposits were lost, and relationships were strained.”

A number of optimistic opening dates came and went, with artists including Gary Numan, DJ Tiesto, and Junior Vasquez all booked for shows that had to be cancelled. Talented staff members, like former Drake Hotel entertainment director Jeff Rogers, left before the club opened because pay wasn’t always available. Hired by Gatien to curate music and art, Rogers did manage to book an exhibit of Bruce LaBruce photos and bring event promoters A.D/D. into the fold before departing for a career in music management and television. (He’s now Music Director at AUX TV.)

Other early CiRCA team members—including New York interior designers AvroKO and Travis Bass, N.Y.C./Toronto designer and art director Kenny Baird, Kidrobot founder Paul Budnitz, event promoters Craig Pettigrew, Mario J, Eve Fiorillo, and Rolyn Chambers, and manager/promoter Steve Ireson—helped ready the club and spread the word around the city.

On Oct. 4, 2007—one-and-a-half years, over $6 million, and a whole lot of anticipation later—thousands packed CiRCA’s opening night, largely oblivious to the mad scramble behind scenes.

“We were literally bringing liquor in the back door as the front door was opening, because we had only gotten our licence, allowing us to purchase liquor, that day,” Gatien recalls. “Seeing it all come together after all of the energy and the effort from so many people was very gratifying.”

Mario J at Randomland. Photo courtesy of Eve Fiorillo.

Why it was important: “Peter’s vision brought a certain excitement that only he can bring,” says longtime DJ/producer and former co-owner of Industry Nightclub Mario Jukica, hired to promote Randomland Fridays with A.D/D. production partner Fiorillo.

“Toronto never had such a buzz about any club opening before,” he enthuses. “The climate at the time was completely stale; other clubs in the city had no forward-thinking vision, and that’s why we created such a stir. People were ready for something next-level.”

CiRCA—Gatien’s first Canadian club venture since he left for the U.S. in the late 1970s—was the largest club in the country, both in scope and size. It was also a massively innovative addition to the rapidly changing Entertainment District, by then far more known for fights and public drunkenness than cutting-edge culture.

“The important thing to me in creating a club is to recognize that we’re there for one sole purpose and it’s to create culture, whether through art, music, or fashion,” says Gatien of his impetus. “You want to be an instigator for culture, and you want to have as many creative people as possible in there, exchanging ideas and having a good time.”

At CiRCA, these exchanges took place in seven distinct spaces: the Kidrobot room, Mirror Ballroom, Washroom Bar, Fathom22 Bar, Sensacell Bar, Cinema Lounge, and the massive Main Room. Each was its own wonderland, worthy of exploration and awe. Then there was the brilliant VIP Cube (impossible not to gawk at), the art-filled entranceway, and various connecting corridors, each a trip in their own right. (Details and photos of each room, along with archived event photos and more can still be viewed on CiRCA’s website.)

“The concept was to provide a space for everyone to feel comfortable within a huge space—to build clubs within a club and create an atmosphere for a healthy mix of people to interact with each other, in and out of their comfort zones,” says CiRCA’s artistic director, Kenny Baird. “Entertainment comes from within, from strange and fun experiences, and the exchange of personalities.”

A fellow Cornwall native who grew up near Gatien and would be reacquainted with him in 1980s New York, Baird is a great talent who was largely responsible for what we saw, touched, and snapped photos of at CiRCA.

Baird’s distinctive aesthetic and impressive work history made him an ideal fit for CiRCA. His C.V. ranges from graphic layout for Toronto art collective General Idea’s File magazine to design of Toronto clubs including Charles Khabouth’s Stilife, co-designing landmark Manhattan social spaces including Area, Club USA and The Maritime Hotel, and working as production designer or art director in films, commercials, and music videos for the likes of Bowie, Nine Inch Nails, and Leonard Cohen.

He split his time between the club’s interior-design and art installations, and assembled an in-house art department—complete with its own budget, staff, workshop area, tools, and materials—to cloak the club in regularly updated themes, like “fetish,” “carny sideshow,” and “heroes and villains.”

“The attention to artistic detail and décor within the venue made CiRCA stand out from any other club that I had been to in Toronto,” offers veteran party producer Pat Boogie. He first came to the club as a patron, then worked as a marketing manager from June 2008 to June 2009. “The look of the club was constantly changing, with different themes carried throughout the space, including showcase windows in the front of the venue and in the main entrance hallway—many times complete with live models!”

CiRCA hallway featuring Kenny Baird’s art. Photo: Lucas Oleniuk/Toronto Star.

“The actual physical space was horrible,” recalls Bristol, who’d initially hesitated to work at CiRCA. “It was cavernous and looked like a shopping centre, with too many floors and winding hallways. But when you took Peter’s vision, added a whole lot of Kenny Baird’s brilliance—his mannequins in the washroom hallways are still the coolest things I’ve ever seen in a nightclub—excellent promotions, and a whole lot of hype and expectation, it became a magical kingdom. CiRCA was a giant departure from the norm.”

Gatien is clear as to why: “I learned at a very young age that it’s not a matter of having miles of neon chrome, spinning wheels, lasers, and that kind of shit. You can make that kind of exciting, but the art component and the installations [at CiRCA] were really museum-quality with the thought that went behind them. On a related note, you may not make a lot of profit from art and fashion events, but you maintain or add to your credibility with the real trendsetters and the creative community in your city.”

Just as important, Gatien recognized that, to fill his 3,000-capacity club and pay the bills, CiRCA would need to host a range of events and communities. A.D/D’s Randomland Fridays were meant to attract an edgy and diverse downtown crowd while Pettigrew and his GEM Events presented Traffic Saturdays, hugely popular with deep-pocketed suburbanites, socialites, and celebrities.

Bristol gives a revealing overview: “Saturdays were your typical hot new club crowd in Toronto. There were 3,500 to 4,000 well=dressed people, mostly 905ers, and a lot of bottle service. Booths went for $1,500 to $5,000 on a regular basis, and we had several high rollers who came through and spent obscene amounts.

“On Fridays it was a totally different story; we only did around 2,000 to 2,500 people maximum on this night, but it was amazing. The crowd was incredibly diverse: young, old, black, white, Asian, straight, gay, bi, trans, hipsters, b-boys, artsy, goths—it was nuts. The music was eclectic, and we had a nightly costume parade where you could see Gumby dancing with Raggedy Andy. The crowd seemed to not notice or care about their differences; they were there to party.”

In 2007, A.D/D was the hottest and hippest underground party-production company in town. Jukica and Fiorillo headed the post-rave electro movement in T.O., and were ready to lead their colourful crowd to a large venue.

“At Randomland, you could show up dressed as an alien or whatever you wanted, and it would be considered normal—just as I think it should be at a proper nightclub, in a healthy nightlife,” says Fiorillo. “We wanted to create a fantasy world, with characters that lived there, and have a random theme every week so that we could play with different ideas and people would always be caught off-guard.”

Along with bouncy castles, regulars who dressed in costumes, and a weekly parade of characters who “would sparkle down the two flights of escalators” in CiRCA’s main room, there was a musical mix of electro, techno, house, hip-hop, disco, and more.

“Randomland was a culmination of the past, present, and future of electronic live acts and DJs,” summarizes Jukica.

DJ Barbi and Randomland friends. Photo courtesy of Eve Fiorillo.

Fun at Randomland. Photo courtesy of Eve Fiorillo.

Random fun. Photo courtesy of Eve Fiorillo.

Randomland DJs Rynecologist (left) and Kid X. Photo by John Mitchell (http://derinkuyu.ca/).

Local DJs including Barbi, Andy Ares, Rynecologist, Filthy Gorgeous, and Kid X (a.k.a. the Gatiens’ young son Xander) played regularly in different rooms while then-rising Toronto duos Crystal Castles and Thunderheist both performed live. Most weeks boasted big names in the underground, ranging from Diplo, Cut Copy, Kavinsky, Moderat, and Simian Mobile Disco to Kevin Saunderson, ?uestlove, and DJ Premier.

Randomland also benefited heavily from the sizable gay crowd that Rolyn Chambers, a FAB magazine columnist in addition to his CiRCA duties, and Steve Ireson attracted while collaborating with fellow promoters like Matt Sims and Daniel McBride.

Promoter Matt Sims. Photo by John Mitchell.

The spacious and sexy Mirror Ballroom came to be seen as “the gay room” as Chambers and Ireson programmed local queer DJs like Mark Falco, Jamal, and Dwayne Minard and performers including Lena Love, Sofonda, and Gia.

“I once rented a scissor lift for Lena Love’s performance in the Mirror Ballroom,” recalls Chambers. “She and her 50-foot white skirt were lifted to the roof of the building. Gia’s winter performance in 2007 was also a highlight. I rented a snow machine, which created a blizzard for her show. We left it on all night and watched as people danced under the falling snow.”

Lena Love (right) in the Mirror Ballroom. Photo courtesy of Rolyn Chambers.

“The Mirror Ballroom on Friday nights was a great success,” adds Ireson. “It was always packed, and often ended up pulling adventurous people from the Main Room where Randomland was happening.”

Chambers, in fact, feels this is why he was let go from CiRCA nine months after it opened, claiming that “Eve and Mario wanted to close the Mirror Ballroom because they felt the night was becoming too gay.”

Fiorillo, writing independently of Chambers’ comment, states that A.D/D “wanted our night to be evenly mixed. Our intention wasn’t to segregate the crowd.”

For his part, Jukica most recalls the night’s overall vibe: “In Randomland, we created an intensely excited atmosphere for a generation of kids that will not be forgotten. I have just as many people come up to me to say how that was the most exciting period of their lives for clubbing as I do for Industry. If you were 19-to-25 in Toronto during Randomland, and went there, you know what I mean.”

For Traffic Saturdays, Pettigrew and his GEM team—which also included DJ/promoter Nitin Kalyan, Darren Arcane, Nikita Stanley, and others—had different goals entirely.

“We really wanted to produce a cool house-music vibe that was more like a Pacha Ibiza or LIV Miami, so it was more focussed on tables and booze,” says Pettigrew, who’d come up promoting parties at Toronto clubs including Limelight, System Soundbar, and Turbo.

James Doman (left) and Craig Pettigrew. Photo by John Mitchell (http://derinkuyu.ca/)

Pettigrew also DJed at Traffic, along with DJ/producer James Doman. Now based in Los Angeles, Doman broke out as a producer with his duo Doman & Gooding during his time at CiRCA. The video for their 2009 club smash “Runnin’” was filmed primarily in the club’s VIP areas.

Saturdays were all about living large: big crowds dancing to big room sounds, with big-name DJs frequently on deck. Traffic featured huge DJ names, including David Guetta, Tiesto, and Bob Sinclar. Pettigrew recalls two personal favourites.

“Danny Tenaglia played some marathon sets; I wouldn’t leave the club till 3 p.m. the next day! Those nights were really special. The [October 2008] Carl Cox night was insane. I’ll never forget that party because Carl really turned it out, and people were just in the mood to party. The vibe was explosive.”

Who else played/worked there: CiRCA hosted a number of concerts, many of which are talked about to this day. French duo Justice performed to a frantic Thursday-night audience, just two weeks after CiRCA opened. Lupe Fiasco, Kanye West, Pharrell Williams, Rihanna, and others all shared the stage in March 2008. Wyclef Jean performed months later. Lady Gaga’s November 2008 show was her first in Toronto.

The crowd at the October 2007 Justice show. By John Mitchell Photography (http://derinkuyu.ca/)

Crookers, DJ Sneak, and Funkmaster Flex all DJed at CiRCA. Pat Boogie also booked in deeper house DJs including Dennis Ferrer, Martinez Brothers, and FilSonik. Popular local hip-hop, R&B, and Top 40 DJ Baba Kahn held court on Thursday nights for a period (and would later be booked as the main resident at commercial night Reason Fridays, where he was joined by the likes of Pitbull).

Chambers also proudly recalls high profile arts-based events that he helped co-ordinate.

“Having Greta Constantine’s fashion show at the club was a huge coup for CiRCA. Having the first-ever Kidrobot fashion show was also a major triumph. We were able to work with 20 prominent Canadian fashion designers who designed outfits for the iconic Munny dolls. People were able to bid on them, raising money for War Child Canada.”

Project Munny fashions by Damzels in This Dress. Photo courtesy of Rolyn Chambers.

Of course, staging productions and running a proper nightclub required a small army of staff, including dozens of bartenders, waiters, bussers, and security people. Technical director Russell Edwards oversaw production details during CiRCA’s first year while Ashley MacIntyre did essential double duty as director of marketing and corporate relations.

“When I came on board eight months after CiRCA opened, it seemed like most of the kinks associated with opening a new venue had been ironed out and the team they’d assembled was working well together,” recalls Pat Boogie. “It was very exciting to be working in Canada’s largest club and among so many talented people.”

In its first year, CiRCA was the place to be. It was even recognized on the global stage—rare for a Toronto club—winning “best new club” honours at the WMC’s 2008 Club World Awards. But the cracks were starting to show.

“When I was working there, we all knew that the club was in major trouble financially,” admits Boogie. “Not only were they behind on paying many of their main in-house staff, they were also behind on paying many outside contractors. It was a very difficult and extremely stressful situation on a daily basis.”

Martinez Brothers, with Pat Boogie in background. Photo by Andre M, courtesy of Boogie.

The beginning of the end: It’s impossible to discuss CiRCA without addressing the financial troubles, variety of court cases, and competing economic and artistic priorities that ultimately led to its downfall. The fact that CiRCA opened carrying millions of dollars in debt is irrefutable. Once doors had opened, the priority was paying rent, the interest on those early loans, and for day-to-day operations. There was a swirl of rumours about who or what was paid under Gatien’s watch.

“Talk to any bartender, waiter or bus boy who was there; I never missed a payroll,” Gatien insists. “When I was there, we also never missed our withholdings to the government, we were current with our rent, all that stuff.”

“The staff was getting paid for the most part at that point,” verifies former general manager Bristol. “Sometimes it was late, but it always got paid. I was behind, but the other managers were not, and the promoters were behind.”

Arena Entertainment already owed more than $600,000 in back rent by the time CiRCA opened in October 2007 (according to a Notice of Intent and Proposal from Arena’s eventual 2010 Bankruptcy and Insolvency Act [BIA] court proceedings), but RioCan did not provide monthly specifics prior to April 2007, despite Kulidjian’s repeated requests. The landlords do not appear to have initially demanded arrears, but instead made compromises and granted credits towards CiRCA’s rent. RioCan Statement of Arrears (SOA) figures from November 2009 do indicate that CiRCA’s monthly rent was generally kept current during its first year of operations. The big troubles began in December 2008, when—according to the aforementioned SOA—rent was not paid in full, followed by no payments in both January and February 2009.

This was a time of great turmoil at the club. By late 2008, Ari Kulidjian had hired accountants to do a financial audit, ostensibly with the goal of cutting CiRCA’s costs. This not only led to a falling out between Kulidjian and Gatien over the funds devoted to the club’s art department, aesthetics, and DJ/performer fees, but also a $20 million civil lawsuit that pitted the two (and related parties) against one another. Kulidjian and Arena Entertainment accused Gatien of financial mismanagement, breach of contract, slander, and more. Gatien, in a counterclaim, filed for breach of contract and back pay. (The lawsuits were dismissed for delay in 2011.)

Things came to a head when Gatien resigned in February 2009, leaving Kulidjian and Stephan Katmarian as the remaining co-directors of Arena Entertainment Inc. In a January 2010 affidavit (from the Arena Entertainment vs. Peter Gatien, PJG Holdings Inc. and Alexandra Gatien proceedings), Kulidjian stated that Gatien had quit in response to meetings of Arena’s Board of Directors in which the Board had criticized Gatien’s “mishandling of Arena’s financial affairs.”

Gatien tells me he left CiRCA because “I was not going to be associated with something that I considered to be a sub-standard product. Long story short, I very much believe that you have to continually reinvest in your club. That’s why our art department was so extensive, our installations changed all the time, we reinvented all of the rooms, and that sort of stuff.

“My two primary partners [Kulidjian and Katmarian] saw that as a waste of money and felt that we should cash in and just become a bridge and tunnel [suburban/commercial] club. I got tired of trying to explain that if you want to last 10 or 20 years in the business, you can’t be shortsighted on your profits and try to shortchange the public. The art component of the whole club and the DJs—to do it right costs money. There’s a lot that goes on behind making a place become an institution versus a place that’s just okay.” (Ari Kulidjian rejected my requests for an interview, stating only that I should refer to the court documents related to Arena’s BIA proceedings.)

Following Gatien’s departure, things took a turn for the worse. Just weeks after, in March 2009, RioCan made a formal demand for payment of CiRCA’s full arrears, listed as $822,754.58, within seven days. A series of such demands did result in Arena, under Kulidjian and Katmarian, prioritizing monthly rent and payments towards arrears for a period. But other aspects of CiRCA suffered: the club’s art department was unceremoniously closed that month.

“I showed up for work one day and was told that I was no longer allowed on the property—not even to clear my desk of personal belongings,” says artistic director Baird, who has worked to design a number of INK-owned clubs of late, including the soon-to-open Uniun Nightclub at 473 Adelaide W., former home of Devil’s Martini.

“After a solemn promise from these investors to pay me back wages of approximately $30,000 they instead cut the art department down to the one person—someone we had hired as a costume seamstress. It was all done with the hidden agenda of catering to the lowest common denominator, thinking that the patrons wouldn’t know the difference or care.”

“After Peter left, the directors and the powers that were left over became a lot tardier with their payments,” adds Bristol. “Some people’s payments stopped totally.”

Promoters including Chambers, GEM, and A.D/D all mention promised pay that was never received.

“Peter definitely started to ring up the unpaid bills, but it really started when he left and the guys who took over thought they could run the club by not paying people at all,” offers A.D/D’s Mario Jukica. “Slowly but surely, when you don’t pay people, they start to talk. When you stop paying promoters, people stop coming.”

As a patron, it was hard not to notice that CiRCA no longer felt as magical, that damaged furniture was slow to be repaired, or that DJ and entertainment bookings dried up.

“The art and the vision were gone,” says Bristol. “The creativeness slowed and then came to a halt.”

Bristol left two months after Gatien, going to the Guvernment and taking a lot of CiRCA staff with him. (Bristol continues to work for Charles Khabouth’s INK Entertainment; today he is director of venue operations for the company.) The turnover didn’t stop there. By mid-summer 2009, A.D/D and Randomland Fridays were no longer on the roster.

“When Peter left, the life force left with him,” says Jukica.

Kenny Glasgow at CiRCA. Photo by John Mitchell (http://derinkuyu.ca/).

Jonny White (left) and Nitin at Traffic Saturdays. Photo by John Mitchell (http://derinkuyu.ca/).

“CiRCA was Peter’s vision, and with him gone it just didn’t work,” agrees Pettigrew, who ended his highly profitable Traffic Saturdays around the same time. “GEM had to move on. The new owners just didn’t get it, so we decided it was best we leave.” (Pettigrew now lives in Los Angeles and is one of the driving forces behind the fast-growing BPM Festival, held each January in Playa del Carmen, Mexico.)

CiRCA’s programming became decidedly mainstream; Top 40, hip-hop, commercial dance music and bikini competitions became common as Arena worked to draw larger crowds and income. Reams of email correspondence between Arena and RioCan paint the picture of a club in trouble.

By August 2009, contributions to monthly rent were paid only after repeated landlord requests. Court documents from Arena’s BIA proceedings include binders full of emails outlining their excuses. Two bounced cheques in September were followed by a low payment in October and zero rent paid in November. On Nov. 5, after repeated notices of default, RioCan demanded full arrears of $789,550.76 by Nov. 12.

On Nov. 11, filing under the Canadian Bankruptcy and Insolvency Act, Arena Entertainment put forward a Notice of Intention with a Proposal to restructure and modify existing arrangements with their more than 150 creditors.

This would have led to some—including Toronto oil executive Robert Salna, a primary investor who reportedly sunk more than $1.8 million into CiRCA—being paid in full over a longer period of time while other creditors would receive only a percentage of what they were owed. Multiple creditors, including RioCan and the Royal Bank of Canada, immediately opposed Arena’s Proposal, resulting in a series of related court hearings.

Many close to the club believe all this should not have been necessary.

“During CiRCA’s first year, we did $14 million of business, which is a lot in Toronto,” says Gatien. (This figure was reiterated by Bristol, although a 2010 Globe and Mail article references court filings that suggest $7 million in revenues was a more likely number.)

“That club made a lot of money,” Gatien asserts. “We actually reduced the debt by a couple of million dollars in the first year.”

Others offer figures that back up Gatien’s claim. Experienced club and restaurant owner/operator Yigal Bensadoun was brought in as CiRCA’s general manager in October 2009 by Arena’s insolvency trustee, Hans Rizarri of Soberman Chartered Accountants.

“The club was a disaster from top to bottom,” writes Bensadoun by email. “I had to hire a whole new team within the first week to rebrand CiRCA and create something exciting in a place that had already been around for two years. It was a huge challenge to make it work again.”

He states that when he started, “Sales at CiRCA were averaging $45,000 a week. The place needed to generate $75,000 per week to stay afloat.”

Bensadoun also offers that, in working with Rizarri, “we were able to bring the sales up to well over $140,000 a weekend, and were able to show profits within the first month of operations.

“What was mind boggling is that sales on Saturday nights reached over $200,000 when the club first opened, and towards the end of CiRCA, those numbers were there again.”

At Traffic Saturdays. By John Mitchell Photography (http://derinkuyu.ca/).

What happened to it: Bensadoun, who now manages INK’s This Is London nightclub, describes a damning scenario.

“Money started coming in again, and the partners started to pay close attention to where the monies were going. The owners were not interested in paying down the debt to suppliers, bank loans, and RioCan. I had a deal in place in order to pay the landlords back, but they were more interested in getting back their investments.”

A Notice of Default served by RioCan on March 12, 2010 does state that Arena owed $79,357.52 in rent for the month of March, and that they should pay by the next day or the lease could be terminated.

“At that time, I couldn’t reinvest the money into the club by trying to bring new attractions, artists, and DJs to maintain the popularity that we’d regained,” states Bensadoun. “Things could have gone differently; the club earned enough money, and then some, to keep the place alive.”

The various efforts, arguments, and court cases became irrelevant. On March 24, 2010, CiRCA declared bankruptcy. Almost $9 million was owed to creditors; bankruptcy was declared after the Royal Bank demanded repayment of a $249,000 loan.

Receivers were called in on March 24, 2010, to begin the process of distributing CiRCA’s assets, valued at just $62,004.

Those of us who marveled at the club’s existence and potential are left to wonder what could have been.

“Even though CiRCA was not a financial success, it still left its mark on this city, and raised the bar for creativity, originality and style in a ‘super club,” says Pat Boogie. “It also brought an element of musical and artistic variety not seen on this level in Toronto.”

“CiRCA showed me what the next level of nightlife should be,” adds Bristol. “You always hear people saying that people, things, or products were ahead of their time; CiRCA actually was.”

“I was very proud of CiRCA,” says Gatien. “I was very proud of the staff and what we accomplished under very difficult circumstances. Had CiRCA not had the internal problems that we had, and I had been left to run it the way it was meant to be run, it would still be going gangbusters today.”

These days, Gatien is at work on developing a television series. (“It’s basically an Entourage-slash-Sex and the City period piece set in ’90s New York.”) He also helped finance the 2011 documentary Limelight, which focusses heavily on that club’s rise and fall and the court cases brought against him. I highly recommend a viewing.

Though he’s more likely to open a boutique hotel than he is another nightclub in Toronto, Gatien does still believe that a similarly grand superclub could succeed downtown.

“You need a lot of components to work at the same time, but if the right situation presented itself, Toronto’s market is more than adequate to sustain anything that any other large city can. You’ve got a large creative community, a lot of hip people; it may not have the joie de vivre that Montreal has, but it’s certainly not a one-horse town.”

As for 126 John Street itself, it’s again changing with the neighbourhood. A two-floor Marshalls department store opened there last Thursday.

126 John Street becomes a Marshalls. Photo by Denise Benson.

Thank you to Craig Pettigrew, Eve Fiorillo, Jeff Rogers, John Mitchell, Kenny Baird, Mario Jukica, Orin Bristol, Pat Boogie, Peter Gatien, Rolyn Chambers, Steve Ireson, Yigal Bensadoun, and Stuart Berman.

The post Then & Now: CiRCA appeared first on Then and Now: Toronto Nightlife History.