Bobby De Castro, aka Horacio Ulloa, like me, left Cuba before Castro's take-over. I met Bobby toward the end of his run at Finocchio's. He took a liking to me immediately, partly because of our common Cuban heritage. Bobby wanted me to work at Finocchio's, so he became my 'drag mentor' explaining to me some tricks that worked for the Finocchio stage, "showing me the ropes" and how to please the club owners, (not an easy task!). First, keep moving all the time from stage left to right and vice-versa when dancing between songs. Second, "Never play to the men in the audience, but to the women instead to get better audience response." Bobby even took me to his apartment to teach me dance steps to the song "Brazil", and gave me a few of his costumes to help me get started. We also shared a passion for Judy Garland and he would play her records while we were at his place. He told me how impressed he was with Judy's rendition of "Come Rain or Come Shine" when he saw her in the 1950's at The Palace Theater in New York City. Bobby, knowing that I was a licensed cosmetologist, gave me his wigs to style for him. I knew these were very expensive human hair lace wigs and I told him I was going to use very good shampoo and conditioners on them. I'll never forget what he told me: "Tómbola (my backstage pet name), just use laundry detergent on them, no conditioners, and clean the hell out of them to take out the hairspray (Aqua Net in those days to make the style hold well on stage) and tease and spray the hell out of them so the hairdo will hold." Bobby used a comedic flare in his dancing. He emerged from a gorilla and also a polar bear costume as a spunky blonde female, then stripped to the minimum. Then he proceeded with his stripper act as the stage lights went off and he twirled a pair of flashlights as "pasties". He moved them in a natural bounce until the movement nearly reached the floor. At the end of the act the lights came up, he pulled his wig off and flexed one of his biceps. The audience went wild, and he said to me in a sly aside "Just give me the money!", but he did like the applause. (See video capture below). When he retired from Finocchio's I heard he went to our mutual plastic surgeon, Dr. Foster in Lake Tahoe for a face lift and asked him to pull his skin tight so it would last! Bobby left for Miami, Florida and worked there for a while as an apartment manager. A few years later I was playing in Miami Beach at The Monte Carlo Hotel with the famous singing Cuban husband and wife team, Olga y Tony, and I asked Bobby to come to see me, but he declined, though he was very nice over the phone. I heard later on, back in San Francisco, that he had been ill and later passed away. I guess he didn't want me to know about it. Anyway, dear Bobby, I will never forget you and this is my little tribute to you my dear! I'll see you someday in the Hereafter and maybe you can show me the ropes up there too?
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| Bobby De Castro Havana, Cuba, Mid 1950's |
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| Bobby De Castro, Juan José & René De Carlo Production number at Finocchio's, mid 1960's |
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| Juan José, Bobby De Castro & René De Carlo On stage at Finocchio's, mid 1960's |
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| Russell Reed & Bobby De Castro Backstage, Finocchio's, mid 1960's |
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| Russell Reed, Bobby De Castro & Juan José Backstage, Finocchio's, 1967 |
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| Juan José & Bobby De Castro Backstage, Finocchio's, mid 1960's |
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| Bobby De Castro On stage, Finocchio's, late 1960's |
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| Bobby De Castro Backstage, Finocchio's, 1971 |
Bobby De Castro With David de Alba, 1971 |
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| Bobby De Castro On stage, Finocchio's, Video capture, 1972 |
Retired FI performer Sylvana Mangano, New York City, on Bobby De Castro:
Bobby de Castro was proud to be a Cuban, and proclaimed it every chance he got amongst the FI enclave of New York City in the late 1950’s. An accomplished performer and formally trained dancer, Bobby was very much in demand for club dates. It wasn’t only his artistry but the clever gimmicks that he used that always resulted in a standing ovation at the end of his act. Bobby sure knew how to tantalize and surprise an audience.
In spite of his fame and success, his generosity towards other FIs was well-known in our circle. Bobby had a vast network of theatrical agents and established FI performers who respected and liked him. This allowed him to advise, train and even obtain “gigs” for new performers of the trade whenever possible. The younger generation, with the likes of Freddy la Bella and Micheline (who later went on to star in films and make a lucrative career of this craft), owe him a lot for his teachings, help and support.
There was a well known coffee shop on the West Side of Manhattan where performers from the 82 Club and other night clubs would gather after hours for a nightcap to chat and exchange comments. Bobby would always make an “entrance” and we would all gather around his table to hear his latest stories.
He left for California in the late sixties, but left an indelible mark in our hearts and souls as one of the best performers and most generous friend of all time.
FI Lavern Cummings on Bobby De Castro:
Bobby De Castro was a dancing Star and his gorilla number was a show stopper. He would come on stage in this gorilla suit and terrorize the audience, then he would proceed to strip out of it. He ended up in a leotard and this flaming red or golden blonde hair. I worked with Bobby a number of years and he was always a professional.
Entertainer Holly White on Bobby De Castro: