Lestra La Monte

In the world of mid-century burlesque and drag performance, few figures were as visually arresting and artistically daring as Lestra La Monte. Born Lester LaMonte in 1900 in Cincinnati, Ohio, Lestra carved out a niche for herself in the vaudeville and drag circuits with a signature style that was as ephemeral as it was unforgettable: costumes made entirely of paper.

A Theatrical Childhood

Lestra’s stage career began precociously at the age of five, when she played Little Eva in a touring production of Uncle Tom’s Cabin. Raised in a theatrical household—her mother, Hazel La Monte, was also a performer—Lestra was immersed in the world of stagecraft from the start. By the 1910s, she was appearing in regional vaudeville shows, often alongside her mother, and developing a flair for costume and character.

Drag in the Early 20th Century

Drag performance in the United States has deep roots in vaudeville, minstrelsy, and musical theater. In the early 1900s, female impersonation was a staple of variety shows, often framed as comic relief or novelty. However, performers like Lestra La Monte helped shift drag from caricature to artistic expression.

During the Prohibition era (1920–1933), underground clubs flourished, and drag found a home in speakeasies and cabarets. These venues offered relative safety for queer performers and audiences, though mainstream acceptance remained elusive. Lestra’s emergence as a drag artist in the the mid-1920s coincided with this underground boom, and her work reflected a growing sophistication in drag aesthetics.

The Rise of a Drag Icon

By the mid-1920s, Lestra was a full-time “female impersonator.” Her acts were known for their visual splendor, featuring a chorus of “beautiful girls” and elaborate staging. But what truly set her apart was her act called “Paper Creations”—costumes meticulously crafted from delicate paper materials, which she designed and assembled herself. She took her act on the Keith-Albeo circuit.

“Somebody always does the thing that can’t be done. A brand new idea in revues was despaired of. Then along came Lestra LaMonte and Company in ‘Paper Creations’ and offers something that is both original and unique. The pictorial value is exceptional; the scenery and costumes are gorgeous. The latter would tickle the heart of the finest Parisian modiste. Everything is made of paper–paper scenery, paper gowns, paper fur, paper shoes, paper everything. It is absolutely amazing to see the results that are possible, but the appeal of ‘Paper Creations’ is not exclusively for the eye. It is presented by a sextette of artists, besides the star.

Lestra LaMonte, who is a female impersonator, generally conceded to be of teh same high rank as Julia Eltinge. His ability to wear voguish feminine attire is not even excelled by the French mannikins.”

These creations were not just props; they were central to her identity as a performer. Each costume was a one-of-a-kind piece, often destroyed after a single performance due to its fragility. This transience added a poetic layer to her artistry—beauty that existed only in the moment.

Bill at Proctor’s

“An exceptionally fine bill is offered the patrons of Proctor’s Fourth Street Theatre for the first three days of this week. Lestra LaMontre, the female impersonator with his bevy of beautiful girls presenting “Paper Creations” views with the screen presentation “Ten Modern Commandments” starring Esther Ralston, for premier honors. Each of the other four acts was well received and all help to make one of the best balanced bills that has been presented at the threatre in some time. Besides presenting their revue in costumes made of paper, the cast of “Paper Creations” model some of the new things in furs now being shown at Muhlfelder’s Third Street store. The acrobatic dancing of Miss Isabel Brown in this act is unusual and extremely difficult, while Lestra LaMonte’s female impersonations are well presented.” – – “Amusements.” Troy Times. August 2, 1927: 10 col 3.

Lestra in Nebraska

The Omaha Orpheum hosted a cornucopia of talent in July 1928. Lestra was said to have performed an impressive act with crepe paper and 6 ladies—including a singer, Isabel Brown, and an acrobat, Madelyn Moore. (Omaha Morning Bee News. “Review of Stage & Screen.” July 9, 1928)

According to the Omaha World Herald, Lestra created the costumes and scenery for her show. Some gowns required 4,000 yards of crepe paper and 8,000 yards of paper ruffles.

The various gowns were listed:

• an evening gown of red, black and gold
• a lavender evening wrap with tier upon tier of ruffles
• an “ostrich feather fan”
• a Spanish shawl containing every color of the rainbow
• a Colonial dress with a hoop skirt
• a Hawaiian grass skirt
• a white peacock gown with a train of many colors
• a Pajama Suit of paper

In 1928, Lestra was just 23 years old and had been creating paper fashions for many years. The earliest known advertisement for Lestra is in 1925, advertising her “Paper Fashion Plate.”

The newspaper advertisement for the Orpheum Theatre states:

“Lestra La Monte, The Paper Fashion Star, in ‘Paper Creations’, A Riot of Jazz, Color and Novelty.”

The advertisement below, for Ad Sell Restaurant on the 10th Floor of the Brandeis Store, reads, “Personal Appearance Monday and Tuesday from 12 o’clock to 1 o’clock; Lestra La Monte, Paper Fashion Star and Female Impersonator and Six Living Models. A Riot of Jazz and Novelty Appearing at the Orpheum Theatre This Week. They Will Entertain You While You Enjoy Our Tasty 40c, 50c, 60c Luncheons. Where It Is Really Cool.” (Omaha Sunday Bee News. July 8, 1928)

Lestra LaMonte soon traveled to California, where she landed at a locally-owned bar named Finocchio’s. Little did she know, this would be the start of a Golden Era of San Francisco drag, and she was smack dab in the middle of it!

Finocchio’s and the Golden Era

For over six decades, Finocchio’s nightclub stood as a beacon of drag performance and queer artistry in San Francisco’s North Beach neighborhood. Founded by Joseph “Joe” Finocchio, the club officially opened at 506 Broadway Street on June 15, 1936, after evolving from a speakeasy called the 201 Club during Prohibition.

Finocchio’s was not explicitly marketed as a gay venue, but it became a safe haven for queer and trans performers, especially in an era when cross-dressing was criminalized. The club offered a rare public stage where performers could express gender fluidity and theatrical femininity without fear—at least while inside the venue.

A Cultural Crossroads

Finocchio’s shows were a mix of vaudeville, burlesque, and drag, featuring impersonations of Hollywood stars, musical numbers, and comedic routines. The club drew tourists, celebrities, and locals alike, with stars like Judy Garland, Marilyn Monroe, Bette Davis, and Tallulah Bankhead reportedly attending performances.

The performers were often referred to as “female impersonators” or, as Eve Finocchio preferred, “male actresses.” This terminology reflected the era’s theatrical framing of drag, which was often seen as entertainment rather than an expression of personal identity. Yet for many performers—especially trans women—Finocchio’s was a place of gender affirmation and community.

Drag Under Surveillance

Despite its popularity, Finocchio’s operated under constant scrutiny. San Francisco had a cross-dressing law dating back to 1863, which wasn’t repealed until 1974. This meant that performers could be arrested simply for leaving the club in costume. The club itself was raided in 1936, prompting its relocation and a change in employment practices to avoid further legal trouble.

Legacy and Closure

Finocchio’s remained open until November 27, 1999, making it the longest-running female impersonation show in the world. Its closure marked the end of an era, but its influence lives on in modern drag culture. Shows like RuPaul’s Drag Race owe a debt to the trailblazing performers who graced Finocchio’s stage.

Lestra La Monte at Finocchio’s

Lestra became a fixture at Finocchio’s, from the late 1930s through the 1960s. Lestra’s acts fit perfectly into its ethos. Her performances there helped solidify her reputation as one of the most innovative and respected drag artists of the time. At a time when cross-dressing was criminalized in many states, Finocchio’s offered a rare public stage for drag artists to perform with relative freedom. Lestra’s presence there placed her among the elite of drag’s golden age, alongside performers like Lucian Phelps, Billy De Wolfe, and Karyl Norman.

Lestra grew as a performer and started producing drag shows. By 1962 she produced her 30th show at Finocchio’s and had been doing so for 13 years!

By the 1960s, Lestra was considered an elder queen of the drag world. The post-war era brought new challenges and opportunities. The rise of television and changing social norms pushed drag further into the margins, but also laid the groundwork for the Gay Liberation movement and the eventual mainstreaming of drag in the late 20th century.

Finocchio’s celebrated its 27th anniversary on Broadway with an international revue of 20 drag queens, never before seen on the West Coast, produced by Lestra LaMonte!

Lestra was also an emcee at the club. She’s quoted in the article above:

“Although it’s generally agreed there’s little new under the sun in the line of comedy routine, comedians find themselves faced with the necessity of finding what little new remains in order to stay alive on stage. It’s what I call a career-or-disappear struggle to be funny enough nowadays.”

Lestra continued to perform and mentor younger artists, maintaining her commitment to craftsmanship and theatricality even as the cultural landscape shifted. Her work remained rooted in the traditions of vaudeville and burlesque, even as drag began to evolve into the more politicized.

The Silence After the Spotlight

Lestra produced a show called Academy Awards in Song in January 1964–“it is extremely unique in a presentation of award-winning songs of recent years, starting with 1937.”

Unfortunately, Lestra’s life ended that same month–January 1964. She was 63 years old and had been the headliner at Finocchio’s for 16 years. A brief newspaper clipping sheds light on the end of her days, dying after a long illness.

Like many drag and burlesque artists of her era, she left behind few personal records, and much of her legacy exists only in fleeting mentions in newspapers, playbills, and the memories of those who saw her perform. The ephemeral nature of her paper costumes mirrors the archival gaps that obscure her later years.

Lestra’s story remains largely untold beyond the stage. This absence in the historical record is a poignant reminder of how many queer performers—especially those working outside mainstream fame—have been overlooked or forgotten. Documenting her life now is not just an act of remembrance, but a reclamation of queer history that deserves to be seen, celebrated, and preserved.

Sources:

• https://www.lansingburghhistoricalsociety.org/in-the-news/dragged-into-court-1934
• https://www.sfgate.com/performance/article/Finocchios-female-impersonator-San-Francisco-6806823.php
• https://idnc.library.illinois.edu/?a=d&d=VVN19290330.2.91&e=——-en-20–1–txt-txIN———-
• https://www.digitaltransgenderarchive.net/files/fn106z273
• Souvenir Magazine, Finocchio’s, Drag Queen Female Impersonators Storybook, c. 1953
• https://www.foundsf.org/Finocchio%27s,_a_Short_Retrospective

Newspapers:

• The Ledger Star. Advertisement for Colonial Theatre. Page 5. January 27, 1925
• Variety Fashion Magazine. March 1927
• Nevada State Journal. “Impersonator Dies.” San Francisco. Page 31. January 12, 1964
• Omaha World Herald. “Orpheum-Lestra LaMonte.” Page 22. July 8, 1928
• Omaha World Herald. “Gowns Made of Paper.” Page 15. July 10, 1928
• The Berkeley Gazette. Page 16. March 29, 1957
• The Berkeley Gazette. “Lestra LaMonte.” Page 8. May 4, 1962
• The Berkeley Gazette. “Finocchio’s New Revue International Theme.” Page 8. June 8, 1962
• The Berkeley Gazette. “Finocchio’s Preems New Show ‘Academy Awards in Song’.” Page 10. January 3, 1964
• The Indianapolis News. Lestra LaMonte. Page 13. August 15, 1925
• The Post. “New Finocchio Show Scheduled.” Page 5. April 18, 1962