Finocchio's (San Francisco, California)

Finocchio’s Club was a legendary San Francisco nightclub known for its glamorous female impersonation performances. It began as a speakeasy in 1929 when Joe Finocchio, inspired by a performer imitating Sophie Tucker, envisioned a venue where men could perform with the elegance and showmanship of sophisticated women. The name "Finocchio" comes from the Italian word for fennel. Historically, it has also been used as a derogatory term for gay men. While the exact origins of this slang are unclear, it reflects how language has been used to label LGBTQIA+ people. Despite this, Finocchio’s nightclub reclaimed the name, becoming a famous venue for female impersonation performances in San Francisco.

After Prohibition ended in 1933, the club moved to 506 Broadway in the North Beach district, becoming a well-known entertainment hotspot. Marjorie Finocchio, Joe’s first wife, played a crucial role in shaping the club’s success. She managed the entertainment, booked top-tier performers, and promoted the venue locally and internationally. Under her leadership, Finocchio’s gained a reputation as a unique tourist attraction, drawing celebrities such as Bob Hope, Frank Sinatra, and Tallulah Bankhead. Performers showcased diverse acts, including ethnic dance styles and elaborate impersonations of Hollywood stars.

Despite occasional police raids and military restrictions during World War II, the club remained a fixture in San Francisco’s nightlife. In the 1950s, psychologist Evelyn Hooker visited Finocchio’s before conducting groundbreaking research that challenged stereotypes about gay men. After Marjorie’s passing in 1956, Joe married Eve Finocchio, who continued to run the club until its closure on November 27, 1999, due to rising rents and declining attendance.

Finocchio’s Club was a symbol of LGBTQIA+ visibility in entertainment for over six decades. From its underground beginnings to its status as a celebrated institution, it provided a stage for performers to express themselves in an era when LGBTQIA+ representation was limited. The club’s legacy remains a significant part of San Francisco’s queer history.

Performers

Finocchio’s was home to many incredible performers who dazzled audiences with their talent and showmanship. While not all entertainers identified as LGBTQ+, they all played a role in challenging gender norms through their art, comedy, and performances that defied expectations.

Bobby de Castro

Bobby de Castro brought a comedic and lively energy to the Finocchio’s stage, using humor and surprise to captivate audiences. According to David de Alba, Bobby’s act began with an unexpected transformation—he emerged from a gorilla or polar bear costume as a spirited blonde, then transitioned into a playful striptease. As the stage lights dimmed, he used handheld flashlights as “pasties,” twirling them in rhythm until the movement nearly reached the floor. At the end of his routine, with the lights back on, he would pull off his wig, flex a bicep, and leave the audience cheering.

Beyond his performances, Bobby was also a mentor to de Alba, sharing insights on how to succeed at Finocchio’s. He had a sharp sense of humor, once joking backstage after a roaring applause, “Just give me the money!” But despite the quip, he clearly enjoyed the reaction he got from the crowd. Offstage, Bobby was known for his warmth and generosity. De Alba fondly recalled how Bobby kept a small electric pot for making hot chocolate between shows, often offering him a cup along with cookies—a simple yet memorable gesture of kindness.

Bobby’s mix of comedy, showmanship, and mentorship made him a standout performer at Finocchio’s, leaving a lasting impression on both audiences and fellow entertainers alike.

Carroll Wallace

Carroll Wallace was a well-known performer at Finocchio’s, a celebrated nightclub famous for its female impersonators. Described by David de Alba as exceptionally beautiful in his youth, Wallace later became known for his refined and elegant stage presence. His signature song, "I'm A Singer Though I Haven't Got a Voice," was written especially for him, and he regularly welcomed audiences with a memorable introduction: "Welcome to Finocchio’s, the house of the fabulous female impersonators. In New York, Mr. Ziegfeld glorified the American girl… Here at Finocchio’s, we glorify the American boy." Wallace was also one of the few performers still using glue-on lace human hair wigs, often styled in a French Twist, and occasionally performed a parody of singer Sophie Tucker.

Wallace was also known for his generosity toward fellow entertainers. De Alba recalled being introduced with warmth and enthusiasm as "the warm and charming personality of Mr. David de Alba!" His presence at Finocchio’s was marked by camaraderie, humor, and a dedication to performance, making him a memorable figure in the club’s history.

Coquis

Coquís was a talented and energetic dancer from Mexico who performed at Finocchio’s during the late 1970s and early 1980s. Hired as part of the Eve-ettes chorus line, he was known for his high leg lifts, splits, and powerful stage presence. Despite his dynamic movements, he retained a sense of elegance, swaying his arms and moving with fluidity to fast Latin jazz rhythms. His combination of athleticism and grace made him a standout among the club’s dancers.

Offstage, Coquís was known for his kind and encouraging nature. According to David de Alba, he enjoyed experimenting with stage fashion and once convinced de Alba to try a disco-inspired look for a special performance. Watching from the wings, Coquís and fellow dancers Marlo Adame and René de Carlo smiled as de Alba took the stage in a platinum wig and sequined outfit, embracing the bold style Coquís had envisioned.

Coquís left Finocchio’s in the early 1980s and sadly passed away at a young age. Though his time at the club was brief, his talent and warmth left a lasting impression on those who performed alongside him.

Elton Paris

Elton Paris was known for his playful and unexpected approach to performance at Finocchio’s. According to David de Alba, Paris often entered the stage in casual women’s streetwear and tennis shoes, using his appearance to set up a comedic moment before even speaking or singing. His act featured a striking contrast in vocal range, beginning songs in a falsetto before suddenly dropping to an extreme baritone for dramatic effect.

One of his signature performances was "Spinning Wheel", where he combined vocal range with physical humor. As he sang, he would allow his falsies to gradually slip down beneath his sweater, amusing the audience as they noticed. Just as the laughter built, he would push them back up, heightening the comedic effect. De Alba recalled that this combination of voice and visual humor made Paris’s performances particularly entertaining for audiences.

Holly White

Holly was known for an elegant and striking stage presence, often performing surrounded by soft feathers in a style reminiscent of Sally Rand. According to David de Alba, Holly sang and danced to numbers such as "You Stepped Out of a Dream" and "When the Red Red Robin Comes Bob Bob Bobbing Along," captivating audiences with grace and charm. Unlike many performers at Finocchio’s who used dramatic stage makeup to create a female illusion, Holly’s look was notably understated, with a nearly bare face and a softly styled wig from the 1960s, free of heavy teasing. Her presence on the Finocchio’s stage and her distinctive approach to performance made her a memorable part of the club’s history.

Jackie Phillips

Jackie Phillips was known for his fast-paced comedic style and energetic stage presence at Finocchio’s. According to David de Alba, one of his signature moves involved walking around the stage on the sides of his high heels, a skill that never failed to amuse audiences. He also incorporated physical comedy into his performances, famously twirling his waist-length pearl necklace around his neck like a hula hoop while delivering his songs.

Holly White, a fellow performer, recalled Jackie as "so off-the-wall and totally crazy," describing him as a delight to watch and comparing his humor to that of Lily Tomlin. Offstage, de Alba remembered Jackie as reserved and kind, offering moral support at a show in Redwood City, California, where he gifted de Alba a keepsake ashtray—later repurposed as a candy dish.

Jackie’s distinctive humor and lighthearted energy made him a beloved presence at Finocchio’s, and his performances left a lasting impression on those who worked alongside him.

Lavern Cummings

Lavern Cummings was known for his breathtaking stage transformations, from expertly applied makeup and elegant gowns to personalized musical arrangements that showcased his falsetto soprano voice. He began performing at Finocchio’s in 1956 and remained a staple of the club until his retirement in 1982. Throughout his career, Lavern left a lasting impact as both a singer and an actor, captivating audiences with his seamless transitions between vocal registers. Toward the end of his time on stage, he surprised audiences by dropping from a traditionally feminine tone to a deep baritone, making his transformation all the more dramatic.

In addition to his success in live performance, Lavern was featured in the 1979 television movie The Golden Gate Murders, a milestone in his career that held personal significance for him. His dedication to his craft extended beyond his time at Finocchio’s, as he later worked on a project that reimagined his past performances through Paul Cummings’ act.

Lavern’s ability to blend vocal talent, elegance, and theatricality made him one of Finocchio’s most celebrated performers. His artistry continues to be remembered by those who worked alongside him and by fans who admired his exceptional skill.

Lucian, "The Male Sophie Tucker"

Lucian, sometimes called The Male Sophie Tucker, was a well-known performer at Finocchio’s, admired for his stage presence and distinctive voice. According to David de Alba, Lucian even owned some of Sophie Tucker’s original gowns and wore them in his performances. He was known for his fine boy soprano voice, which he showcased in songs like "When Irish Eyes Are Smiling." Unlike many other impersonators, he was able to perform without heavy foundation due to his clear complexion, needing only a light dusting of powder before applying the rest of his stage makeup. Offstage, Lucian was known for his kindness and generosity, often acknowledging de Alba’s work in styling his wigs.

Lucian eventually retired from Finocchio’s after being diagnosed with liver cancer. In his younger days backstage, Lucian had often expressed a wish to be buried as Sophie Tucker. Beyond his time at Finocchio’s, he also managed a retirement home on Guerrero Street with his wife, where he once hosted de Alba for lunch. His legacy as a performer and his generosity toward fellow entertainers remain a cherished part of Finocchio’s history.

Marlo Adame

Marlo Adame was a classically trained dancer from Mexico who brought elegance and technical skill to the Finocchio’s stage. Unlike most members of The Eve-ettes, Finocchio’s chorus line, he also had a solo act, where he showcased his ability to dance en pointe—a rare and impressive skill. According to David de Alba, Marlo’s refined technique and graceful stage presence made him a standout performer during his time at the club.

Beyond his talent, Marlo was known for his kindness and generosity. De Alba recalled a moment backstage when Marlo shared a homemade avocado dip with fellow performers, demonstrating the warmth and camaraderie that defined his personality. Many years later, in 2000, de Alba reconnected with Marlo through their mutual friend René de Carlo, and they had a reunion in Las Vegas.

Marlo continued his career in entertainment, going on to lead his own successful revue in Mexico, Marlo Travesti Show. There, he not only performed as a dancer but also emceed and delivered stunning impressions of famous stars. His ability to blend classical dance with the art of female impersonation cemented his reputation as a versatile and gifted performer.

Reggie Dahl

Reggie Dahl was a striking performer at Finocchio’s, admired for his elegant stage presence and graceful dance skills. With a beauty often compared to Hedy Lamarr, he combined a slim, refined look with dynamic high kicks and precise movements. According to David de Alba, Reggie was dedicated to his craft, often warming up on the ballet barre before performances, much like a classical dancer. His rendition of "Call Me", originally popularized by Petula Clark, became a defining part of his act and was well-received by audiences.

At one point, Mrs. Eve Finocchio placed Reggie in charge of the chorus line, The Eve-ettes, though he accepted the role with some hesitation, knowing the dancers had a mind of their own. Fellow performer Holly White remembered Reggie as a close friend and a talented dancer with a style reminiscent of Ann Miller. His striking appearance placed him among the most visually captivating performers of the era, and he was often compared to Lavern Cummings.

While Reggie was known for his passionate personality, his commitment to performance and his contributions to Finocchio’s stage were well recognized. His ability to blend elegance and energy in his routines secured his place as a notable entertainer at the club.

René de Carlo

René de Carlo, born in Mexico, was a highly skilled and versatile dancer who captivated audiences at Finocchio’s with a wide range of dance styles and character portrayals. Known for his impeccable costumes and wigs, he brought elegance and precision to every performance. One of his most celebrated routines was the "Double Cape" dance from Spain, which showcased his ability to blend movement with dramatic flair. His transformation from male to female on stage was striking, further enhancing the magic of his performances.

René was married to Jeannie, a cocktail waitress at the club, who proudly pointed him out to customers, saying, "That’s my husband on stage," often leaving them both impressed and bewildered. According to David de Alba, René was kind-hearted and had a close friendship with him, affectionately calling him "Chula" (a pretty girl) and "Tómbola", a nod to a song de Alba frequently performed. Between shows, René and some of the Mexican entertainers known as the Eve-ettes would relax in his dressing room, sharing corn tortilla chips, salsa, and Mexican beer, creating an atmosphere reminiscent of a lively fiesta.

René later moved to Mexico City, where he continued performing at private events. In 2002, he sent de Alba one of his beautifully beaded Charleston costumes as a memento of their long friendship. Holly White also remembered René as a kind and genuine presence at the club, noting that he and his wife made her time at Finocchio’s especially enjoyable. His talent, warmth, and dedication to his craft remain an enduring part of the club’s history.

Russell Reed

Russell Reed, billed as "The Ton of Fun," was a larger-than-life comedian at Finocchio’s, known for his self-deprecating humor and high-energy performances. According to David de Alba, Russell embraced comedy as part of his act, often joking about his size and performing a playful striptease down to red pajamas, complete with cherry embellishments. He frequently closed his segment with a humorous take on "King Solomon and His Wives," using exaggerated facial expressions and gestures to entertain the audience.

Russell’s enthusiasm for the stage extended beyond his own performances. Whenever he had the opportunity to emcee, he seized it with excitement, eager to prove himself just as capable as Carroll Wallace. His introductions were delivered with eloquence, and he had a habit of bursting onto the stage mid-applause, encouraging the audience to cheer with him—sometimes before the previous act had even finished! His love for performance was evident, and his presence brought a lively energy to the club.

Offstage, Russell was described as warm and full of personality. Holly White recalled him as "300 lbs. of joy," and de Alba remembered their dressing room covered in posters of icons like Greta Garbo and Mae West. Between shows, Russell kept a large pitcher of ice water, claiming it was key to a flawless complexion, though he also kept plenty of snacks on hand, joking that they helped him stay in character. His big personality and dedication to entertaining made him a standout figure in Finocchio’s history.

External Resources

• David de Alba
• David de Alba Channel on YouTube
• Zagria blogspot