Stephanie Deste

Stephanie Deste
Born	(1901-01-22) 22 January 1901 Liège, Belgium
Died	14 April 1996(1996-04-14) (aged 95)
Occupation(s)	Performer, dancer, radio presenter, beautician
Years active	1917–circa 1937+
Known for	Role as Wanda in Rose-Marie; radio performances; beauty salons in Melbourne

Stephanie Deste (22 January 1901 – 14 April 1996) was an Australian performer, dancer, radio presenter, and beautician. Through her contributions on stage and radio, she played a pivotal role in shaping Australia's theatrical landscape and served as an inspiration to fellow artists. Residing in Melbourne from 1936 until her passing, Deste was recognized for her extravagant persona and commanding public image, establishing herself as a prominent figure within Melbourne's cultural scene.

Originating from a Jewish family in Belgium, Deste relocated to England following the death of her father. She pursued training in both acting and dance, securing theatrical engagements in London. During the early 1920s, she worked extensively across North America, particularly in Chicago and New York, frequently cast as exotic dancers. In 1925, she was chosen to portray Wanda, an Indigenous Canadian seductress, in JC Williamson's Australian rendition of Rose-Marie, which enjoyed two years of unprecedented success throughout Australia and New Zealand. Her leadership of the Totem dancers became a standout element of the production. In 1928, she appeared in The Desert Song in Melbourne before spending six years in Europe engaged in performance, theatre production, and advanced study of contemporary cosmetic techniques in Paris.

Upon returning to Melbourne in 1936, Deste established thriving beauty salons, maintained a regular presence on radio broadcasts, and occasionally appeared on stage. Her high-profile status combined with her lavish style made her a widely recognized personality in Melbourne.

Early life

Born Fanny Rosine Deitz on 22 January 1901 in Liège, Belgium, Stephanie Deste was the daughter of Isidore Deitz, a Sephardic Jewish linen merchant, and Christine Manheim, whose Dutch lineage included musicians and goldsmiths. After her father passed away early in her life, by 1911 she was residing with her mother and sister in Eastbourne, Sussex, England, living alongside maternal relatives who were professional violinists.

Her initial acting experiences involved child roles in Shakespearean productions. At the age of thirteen, she commenced formal education in acting and dance at London's Academy of Dramatic Art.

Theatrical career

Adopting the stage name Stephanie D'Este, Fanny Dietz was part of a London theatre troupe by 1917 at sixteen years old, performing melodramas such as The Lights o' London and The Dangers of New York. Being fluent in French enabled her to also perform with a French theatre company. She assumed leading roles in the comedy Masks and Faces and appeared in the bazaar scene of Chu Chin Chow during 1920, notably performing "with a snake curled up on her shoulder".

In September 1921, D'Este journeyed to Canada to appear in John Galsworthy's play The Skin Game, which she later regarded as unsuccessful. Opting to stay in America due to London's slow theatrical revival after World War I, she moved first to Chicago but struggled initially because of her English accent. Relocating to New York where her accent was advantageous, she joined the Theatre Guild, participating in productions like Peer Gynt. Additionally, she worked with the Marion Wilcox Company on Long Island. Between November 1922 and February 1923, she portrayed "a gentlewoman" in Shakespeare's Hamlet at the Sam H. Harris Theatre, sharing the stage with prominent actors including John Barrymore.

D'Este received casting as Salome from Chicago's Co-Operative Play Company but fell ill and spent several months hospitalized. After recovery, she engaged in modeling before returning to New York to resume the role of Salome in 1924. By July that year, she starred as Salome at The Triangle Theatre located in Greenwich Village, completing approximately 850 performances across New York and Chicago. An ankle injury combined with influenza compelled her to take a temporary leave. By March 1925, she took on The Woman's role in a one-act adaptation of The Woman of Samaria at The Triangle Theatre while also performing dances at the Yiddish Art Theatre. During this timeframe, she appeared in silent films such as Soul Fire and held minor roles alongside Douglas Fairbanks.

From April through June 1925, D'Este featured prominently in Aloma of the South Seas at New York's Lyric Theatre on 42nd Street. The operetta Rose-Marie, composed by Otto Harbach and Oscar Hammerstein II, premiered at the Imperial Theatre in September 1924. In 1925, following an injury sustained by the lead actress who broke her jaw unexpectedly, D'Este was offered the role of Wanda. She accepted on short notice by learning the lines overnight and contributed significantly to maintaining the show's momentum until January 1926. Subsequently, Nevin Tait from J. C. Williamson's contracted her for a three-month Australian season of Rose-Marie.

To Australia

Stephanie D'Este arrived in Australia in February 1926, traveling on the Sierra from San Francisco. Early Australian press frequently spelled her name as 'Stephanie Deste,' the version by which she became widely recognized locally.

The Sydney premiere of Rose-Marie took place at His Majesty's Theatre on 29 May 1926. Critics lauded the production for its grand scale and commended Stephanie Deste’s portrayal of Wanda, a half-breed character, emphasizing her "exotic appearance and captivating dance." Her role included the song 'Totem Tom-Tom' and the impressive 'Totem Pole' ballet, which reviewers described as "astonishingly beautiful" and "breathtakingly novel."

In August 1926, Deste performed the balcony scene from Romeo and Juliet during a charity event in Sydney. The Sydney season of Rose-Marie was a remarkable triumph, running for 270 consecutive nights to sold-out crowds at the 1,500-seat Her Majesty's Theatre. This achievement set a new record for the longest theatrical run in Australia at that time.

The musical opened in Melbourne on 26 February 1927 at His Majesty's Theatre. Critics highlighted Deste’s compelling depiction of Wanda, particularly her signature number 'Totem Tom-Tom,' which introduced a fifty-woman Totem Pole Ballet reminiscent of Ziegfeld's Follies. Throughout this period, Deste became a familiar voice on Radio 3LO, performing Bible readings and dramatic recitations that were praised for their emotional resonance. Despite initial unease with the microphone, her radio appearances continued throughout the Melbourne engagement.

Following the conclusion of the Melbourne season on 20 August 1927, Rose-Marie toured to Adelaide, Perth, Brisbane, and Newcastle before proceeding to New Zealand. In Adelaide, Deste’s acrobatic dance skills and elaborate costume as Wanda were particularly noted. The production returned to Sydney for a farewell season in April–May 1928, attracting full houses and frequent encores.

In May 1928, Deste delivered recitals on Radio 2FC in Sydney and showcased her renowned fan dance in the Kelso brothers' revue Ace High at Sydney’s Tivoli Theatre. A brief revival of Rose-Marie occurred in Brisbane in July.

Deste was subsequently cast as Azuri in J. C. Williamson's Australian staging of The Desert Song, which premiered on 15 September 1928 in Melbourne. During this engagement, she met Remigio Budica, a Jewish-Italian restaurateur and former opera baritone who owned the Esperia Café in Melbourne.

Maintaining her radio presence, Deste broadcast Act II of The Desert Song on 3LO in December 1928 and produced a special radio adaptation of Oscar Wilde’s Salome on Radio 3AR in February 1929.

After completing its Melbourne season, The Desert Song opened in Sydney on 30 March 1929. Reviews praised Deste’s authentic acting and expressive dancing as Azuri, noting her skill in evoking both admiration and aversion appropriate to the role.

In mid-May 1929, Deste left Australia aboard the P&O steamer Mooltan, bound for London with plans to continue to America. Her role as Azuri was taken over by Sonia Rosova from New York.

Europe

In approximately September 1930, Deste staged a French-language adaptation of the musical comedy Chu Chin Chow at the Casino in Brussels. She was responsible for costume design, casting, rehearsals, and production, collaborating with the ballet mistress and stage manager from His Majesty's Theatre in London, while utilizing the original London production’s scenery and props.

Remigo Budica journeyed from Australia to England in 1931, arriving in London on 4 June. Later that year, Stephanie Deste and Budica wed in the St. Martin district of London. Their daughter, Toti, was born in Paris in 1932.

Throughout her European period, Deste performed in productions such as Rose-Marie and The Desert Song throughout Belgium, the Netherlands, and France. Upon her return to Melbourne in 1936, she observed that Australian audiences frequently attended her performances overseas. She recounted a memorable moment during a show in The Hague, when an unexpected "Coo-ee" call broke the typically reserved Dutch audience’s silence.

While based in Paris, Deste undertook extensive studies in contemporary beauty practices. She earned certification as a medical electricity practitioner and received training at dermatology and plastic surgery departments within Laennec Hospital. After resettling in Melbourne, she promoted her expertise by highlighting credentials such as the Antoine Diploma, Certificate De Stage from Laennec Hospital, and a Diploma from Dr. Peytoureau’s Plastic Surgery Clinic. Additionally, she used the designation "E.F.O.M." (École Française d’Orthopédie et de Massage), reflecting her education at a distinguished Parisian health institution founded in 1889.

Return to Melbourne

After spending five years abroad, Stephanie Deste returned to Australia in August 1936.

In early 1937, she delivered "dramatic readings" on Melbourne’s ABC radio station 3AR.

By June 1937, Deste had joined forces with Doris Winter (Rourke), a leading beauty expert running the 'Make-Ups' salon on Collins Street. Together they established Stephanie Deste Pty. Ltd., incorporated in August 1937, to provide specialized beauty services including permanent hair removal via diathermy as well as treatments for warts, moles, and acne. The 'Stephanie Deste Beauty Clinic' opened on the fourth floor of the Presgrave Building at 273 Little Collins Street. The clinic employed a short-wave diathermy machine developed by Dr. Simon-Alban Peytoureau that offered quicker and less painful hair removal compared to conventional electrolysis. Initially, Deste personally administered all treatments with assistance from an apprentice.

Starting September 1937, Deste presented "Modern Make Up" and "Beauty Hints" segments on Radio 3KZ and subsequently shared beauty advice on Radio 3UZ.

Though their partnership began harmoniously, tensions arose in 1938 when Deste accepted the role of Wanda in J.C. Williamson's revival of Rose-Marie at His Majesty's Theatre in Melbourne. Rourke consented reluctantly under conditions requiring Deste to train her assistant and be present at the clinic daily by 10 a.m. During rehearsals and performances, conflicts emerged: Rourke alleged that Deste’s health and supervision suffered due to theatrical commitments; meanwhile, Deste accused Rourke of challenging her leadership and installing rival equipment at her own salon.

In December 1938, Deste applied to dissolve Stephanie Deste Pty. Ltd., citing irreconcilable differences between partners. The court permitted Deste to continue operating the clinic independently and maintain her radio programs while restricting Rourke’s involvement to supply management and accounting duties. The case experienced several adjournments before Deste withdrew her petition in May 1939 under terms designed to prevent further disputes.

By 1940, the clinic had relocated to 82 Elizabeth Street (Altson's Corner), focusing on permanent hair removal through diathermy with complimentary consultations offered by Deste herself. She maintained operations there until at least September 1947.

During World War II, Deste appeared regularly on Melbourne radio stations 3AW and 3DB providing beauty guidance and promoting her salon services. In April 1941 she performed 'David of Judah' on radio station 3UZ.

Her husband Remigio Budica passed away from tuberculosis in September 1944 at age 45.

In February 1945, Deste returned to theatre playing Azuri in The Desert Song at His Majesty's Theatre in Melbourne. Despite strong audience reception, the production closed by June that year.

At the June 1947 'Australia Makes It' trade exhibition held in Melbourne, Deste showcased the Marigny cold-wave perm technique during a floor demonstration titled "A Revolution in Hairdressing," followed by complimentary hairstyling for attendees. After Ingrid Bergman popularized the page-boy bob haircut in the November 1948 film Joan of Arc, Deste’s Melbourne salon became renowned for introducing this style locally.

By July 1948, her enterprise operated under the name 'Stephanie Deste Beauty Lodge' from the Brooks Robinson Building located at 59 Elizabeth Street.

From March 1949 until well into the late 1960s, Deste hosted regular 'Beauty Talk' segments on radio station 3DB’s morning show. Between 1954 and 1971 she also conducted celebrity interviews on 3DB’s Sunday Night with Stephanie Deste. Additionally, she frequently appeared on television broadcasts via HSV7.

Later years

In March 1973, Deste made a brief return to performing with the production of Façade, staged by the Victorian Opera Company at Melbourne's Comedy Theatre. This presentation, which combined Edith Sitwell’s poetry with William Walton’s musical compositions, was featured during the Moomba and was presented alongside the operetta The Breasts of Tiresias.

By 1976, Deste operated a business located at 59 Elizabeth Street that employed approximately 40 staff members. The establishment specialized in services such as excess hair removal, cosmetics, and hairdressing. Throughout this period, she maintained her status as a vibrant and well-known figure within Melbourne’s social circles, frequently seen at theatre openings accompanied by journalist and broadcaster Barry Balmer. Renowned for her distinctive elegance and bold presence, Deste was celebrated as one of Melbourne’s memorable personalities, recognized for her contributions to stage and radio as well as her beauty salons. Her unique persona further solidified her reputation as a local eccentric.

Death

Stephanie Deste passed away on 14 April 1996 at Cabrini Hospital in Malvern, Melbourne, at the age of 95. Her final resting place is at Springvale cemetery.

Cultural influence

Deste left a mark on prominent artists like Robert Helpmann, who early in his career emulated her unique dance style and benefited from her direct encouragement along with costume loans.

Barry Humphries acknowledged Deste as a source of inspiration for his character Dame Edna Everage, especially regarding the extravagant spectacle frames. In an interview conducted in 1976, Deste confirmed that Humphries had based Dame Edna’s iconic glasses on her own winged spectacles adorned with diamante, underscoring her enduring influence on Australian performing arts.

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