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
This is an incomplete list of the many talented performers who entertained audiences at Finocchio’s over the years.
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
David de Alba, "The Male Judy Garland"
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
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
Reggie Dahl
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.
