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* Shakespeare's ''[[Richard II (play)|Richard II]]'' (Sir Henry Green and Abbott of Westminster), Prospect Theatre Company, [[Edinburgh Festival]] & West End, 1969–70<ref name=richardII/>
* Shakespeare's ''[[Richard II (play)|Richard II]]'' (Sir Henry Green and Abbott of Westminster), Prospect Theatre Company, [[Edinburgh Festival]] & West End, 1969–70<ref name=richardII/>
* [[Neil Bartlett (playwright)|Bartlett]]'s ''A Vision of Love Revealed in Sleep'', Gloria [production company] at [[The Drill Hall]], London, 1989 and 1990<ref name=vision>{{cite book | access-date = 3 September 2024 | page = 31 | url = https://muse.jhu.edu/pub/319/oa_monograph/chapter/2331750 | title = Sappho Fragments | first = Jonathan | last = Goldberg | publisher = Punctum Books | date = 2018 }}</ref>
* [[Neil Bartlett (playwright)|Bartlett]]'s ''A Vision of Love Revealed in Sleep'', Gloria [production company] at [[The Drill Hall]], London, 1989 and 1990<ref name=vision>{{cite book | access-date = 3 September 2024 | page = 31 | url = https://muse.jhu.edu/pub/319/oa_monograph/chapter/2331750 | title = Sappho Fragments | first = Jonathan | last = Goldberg | publisher = Punctum Books | date = 2018 }}</ref>
* Shakespeare's ''[[As You Like It]]'' (Jaques), Regent's Park Open Air Théâtre, 1992<ref name=likeit>{{cite web | access-date = 4 September 2024 | url = https://openairtheatreheritage.com/actors/bette-bourne/Wq-euSgAAKrvkjS4 | website = Regents Park Open Air Theatre | title = Bette Bourne, Plays and Roles | quote = with a 'feathered cloake, hook-nose and bouffant hairstyle...sweeping across the stage like a bird of prey' (Evening Standard) }}</ref>
* [[Oscar Wilde|Wilde]]'s ''[[The Importance of Being Earnest]]'' (Lady Bracknell), 1995
* [[Oscar Wilde|Wilde]]'s ''[[The Importance of Being Earnest]]'' (Lady Bracknell), 1995
* Bartlett's ''Sarrasine'' (La Zambinella), [[Lyric Hammersmith]], London, 1996<ref name=pt_sarrasine/><ref>{{cite news | access-date = 3 September 2024 | newspaper=Seattle Times | url = https://archive.seattletimes.com/archive/?date=19910920&slug=1306514 | first = Michael | last = Upchurch | title = 'Sarrasine' Is Energetic, Gender-Bending Opera-Vaudeville Mix | date = 20 September 1991 | quote = an ancient wreck of a man (played with gob-spewing hilarity by Bette Bourne }}</ref>
* Bartlett's ''Sarrasine'' (La Zambinella), [[Lyric Hammersmith]], London, 1996<ref name=pt_sarrasine/><ref>{{cite news | access-date = 3 September 2024 | newspaper=Seattle Times | url = https://archive.seattletimes.com/archive/?date=19910920&slug=1306514 | first = Michael | last = Upchurch | title = 'Sarrasine' Is Energetic, Gender-Bending Opera-Vaudeville Mix | date = 20 September 1991 | quote = an ancient wreck of a man (played with gob-spewing hilarity by Bette Bourne }}</ref>

Revision as of 02:07, 5 September 2024

Bette Bourne
Bourne in 2010
Born
Peter Bourne

(1939-09-22)22 September 1939
Hackney, London, England
Died23 August 2024(2024-08-23) (aged 84)
Notting Hill, London, England
EducationCentral School of Speech and Drama
OccupationActor
Years active1943–2022
Notable workThe Vortex, Donmar Warehouse, 2002
FamilyMike Berry (brother)
AwardsClarence Derwent Award 2003, OBIE Award for Performance (2001, 1991), Manchester Evening News Award

Bette Bourne (/ˈbɛti/;[1] born Peter Bourne;[2] 22 September 1939 – 23 August 2024) was a British actor, drag queen, and activist. His theatrical career spanned six decades. He came to prominence in the mid-1970s when he adopted the name "Bette" and a radical posture on gay liberation. He joined the New York-based alternative gay cabaret troupe Hot Peaches on a tour of Europe and then founded his own alternative London-based gay theatrical company, Bloolips, which lasted until 1994.

Beginning in the 1990s, Bourne took on more traditional acting assignments, sometimes in fringe theatres and campy new dramas, but also in classics by Shakespeare, Oscar Wilde, and Noel Coward. He toured widely in one-man biographical shows playing Quentin Crisp and as himself. He generally eschewed such labels as drag queen or female impersonator, preferring to describe himself as "a gay man in a frock".[3] Rather than "mimic a male stereotypical conception of womanhood", wrote one theatre journalist, Bourne sought "to find a different way of being a man".[3] Asked in 2010 if he had left his radical politics behind he said: "One doesn't just stop being what one is. I'm still out there, still full of fury and rage, but on the whole I do try to keep up a very pleasant façade."[4]

Early life

Peter Bourne was born in Hackney, East London,[5] into a working-class family. He had two sisters and a brother (actor and singer Mike Berry). His mother was an amateur actress.[6] Bourne made his stage debut at the age of four with Madame Behenna and her Dancing Children[7] performing at Stoke Newington Town Hall where he sang "Don't Sit Under the Apple Tree". The first play he remembers seeing was a production of Thornton Wilder's Our Town in the early 1950s, although he had an interest in acting before that.[6] His father was indifferent to his son's acting aspirations. When Bourne was 16, he did a three-month apprenticeship as a printmaker. He then worked in journalism at the New Scientist. Bourne began his theatre career working as a stagehand.[6]

1960s performances

Bette Bourne (left) with other original GLF activists at a 40th anniversary celebration in the LSE

Bourne studied drama at London's Central School of Speech and Drama in Swiss Cottage.[6][8] In the 1960s he appeared, credited as Peter Bourne, in several episodes of TV series, including Dixon of Dock Green, The Avengers, and The Prisoner.[9]

From August 1969 to March 1970, still as Peter, he performed alongside Sir Ian McKellen in a Prospect Theatre Company touring double bill of Christopher Marlowe's Edward II[10] and Shakespeare's Richard II.[11][5]

Activism and cabaret career

In the 1970s, feeling disillusioned with show business, Bourne put his acting career on hold to become an activist with the Gay Liberation Front.[12] He became a part of the infamous gay commune based in Colville Terrace in Notting Hill, London.[5]

Years later Bourne recalled the political transformation. Before the change in gay consciousness that came in the 1970s, he said, "The drag queens would be making the most terrible crude jokes about women but we'd be laughing along." Eventually motivated by anger at harassment and the attraction of a growing counterculture, he took to wearing women's clothing: "It wasn't about impersonating a woman. It was about trying to find a new sort of man, to really question what a man was.... Putting on a skirt, putting on some make-up, it changed the agenda, the way that you thought and spoke." He said others began calling him "Bette" and he adopted the name.[13]

Bourne recalled how the early participation of men in drag in a public demonstration in the early 1970s disturbed more traditional civil rights advocates: "A lot of the queens were very afraid of us because we were disobeying the rules in some deep way and scaring them. People got very frightened. We weren’t frightening at all. But it was much stronger than anything they were doing. It was also about a sense of humour or not. Wearing the dresses was great fun as well. It certainly was for me."[14]

In 1976, Bourne joined the New York-based gay cabaret troupe Hot Peaches on a European tour that culminated in a show at the Institute of Contemporary Arts in London.[5] Bourne remained there when the troupe returned to New York City.

Bloolips

In London Bourne founded an all-male gay musical comedy company, Bloolips. In addition to Bourne, who took the leading role, original members were Lavinia Co-op, Precious Pearl, Diva Dan, and Gretel Feather. Between 1977 and 1994, there were around 25 members in the troupe.[15] The company employed John Taylor to provide scripts, and later Ray Dobbins. The productions combined satirical political comedy with tap dancing and singing, with the men in clown-like costumes rather than in female attire or as female impersonators.

The shows drew heavily on the glamour of the 1920s and 1930s golden era of Hollywood and Broadway theatre. They were staged, produced, and directed in the vaudeville tradition. The scenery and costumes were designed to look tawdry and down-at-heel. The actors made their own costumes on a limited budget "out of plastic laundry baskets, broken lampshades, and tat from second-hand shops, sometimes using mops as wigs", Co-op recalled.[15] "The first Bloolips rehearsals were done in my flat in Notting Hill, seven of us tap dancing in a line.", Bourne told The Guardian in 2005.[5]

The shows featured adaptations of such well-known numbers as "We're in the Money" and original songs like "I'm Mad about Leisure", "I Want to Be Bad", and "I'd Love to Dance the Tango but my Suit Says No". Many of the show's titles and plots were adapted from well-known movies, including Lust in Space, Gland Hotel, and Get Hur.

Bloolips was first and foremost a vehicle for Bourne, both his insistence on managing his career and showcasing his talents. The troupe premiered their first show at The Tabernacle, Notting Hill, in Powis Square in August 1978 and were, according to Bourne, "a sensation".[16] It became a regular practice for the troupe to premiere their productions at The Tabernacle to benefit the local community.[citation needed]

Bloolips performed in New York in 1980, opening off-off Broadway at the New City Theater, moving to the off-Broadway Orpheum Theatre, and closing in June 1981.[16] Its production of Lust in Space won the OBIE Award for best costumes.[17] The New York Times critic Mel Gussow lavished praise on Lust in Space and the cast of six: "Bloolips are bizarrely funny. It's not what you do, but how you do it. They tap-dance with clattering precision, harmonize on old sounding tunes and never forget the parodistic nature of their endeavour, imitating everyone from dim-witted ingenues to flamboyant femmes fatales."[18] In 1993 one reviewer wrote: "If Busby Berkeley had concocted a musical about Ancient Rome and cast it with English music-hall comics who love to dress up like chorines, it might look like Get Hur."[19]

Bloolips shows

Bloolips performed 13 shows before disbanding in 1998. These included:

  • The Ugly Duckling (1978–79)
  • Cheek! (1978)
  • Vamp and Camp (1979)
  • Lust in Space (1980–82)
  • Yum Yum (1983)
  • Odds 'n Sods (1983–84)
  • Sticky Buns (1983–84)
  • Living Leg-ends (1985)
  • Slung Back and Strapless (1986–87)
  • Teenage Trash (1987–88)
  • Gland Hotel (1988–90)
  • Get Hur (1993)
  • The Island of Lost Shoes (1995)

In 1988, Bloolips toured Canada, visiting Halifax, Nova Scotia, and Ottawa in a Best of Bloolips production.[20]

A documentary movie shot in New York City in 1993 and titled Bloolips contains footage of the troupe performing Get Hur, as well as backstage footage and interviews with Bourne and other members of the cast.[21]

Acting career

In 1990, Bourne and Paul Shaw appeared with Lois Weaver and Peggy Shaw in Belle Reprieve, which Bourne and Shaw had a hand in writing. The play was produced by Split Britches and performed in London, New York, San Francisco, Boston, and Seattle.[22] The show won an OBIE Award for Ensemble Production in 1991.[23] In the New York Times, a reviewer dismissed the show's claim to be a "musical sendup" of Tennessee Williams's A Streetcar Named Desire and wrote that it was a cabaret act that referenced that play "only as a point of departure" and "there is little to connect the two works, even as a takeoff". He praised some of the musical numbers–"another number in which three paper lanterns do a tap dance is lively"–but judged the show "sophomoric" with "little originality". He noted the four actors' "energy".[24]

In 1991, Bourne appeared as the 250-year-old La Zambinella in Neil Bartlett and Nick Bloomfield's production of Sarrasine at New York's Dance Theater Workshop. Stephen Holden called it a "bravura performance" and described Bourne as "a phantasmal apotheosis of a renegade erotic spirit, at once a ruined (though regal) grand dame and a sad clown".[25] Bourne reprised that role at the Lyric Hammersmith in 1996.[26]

On 9 October 1994, he joined McKellen, Stephen Fry, and others in a benefit reading of Wilde's The Ballad of Reading Gaol at the Lyric Theatre in Hammersmith that was broadcast on BBC Radio 3.[27]

In 1997, Bourne performed in New York City in a production of Ray Dobbins' one-man show East of Eadie. The New York Times reviewer found much to criticize but thought Bourne had "some excellent material" and "gives the impression of being able to charm by just standing there". She praised Bourne's "splendid Noel Coward imitation" singing "Why Must the Frock Go On?" and the way he delivered his lines in his "wonderful, deep Tallulah-like voice".[28] That same year Bourne won a Manchester Evening News award for his performance as Lady Bracknell in the English Touring Theatre production of Wilde's The Importance of Being Earnest.[29] That role was Bourne's first as a female impersonator, chosen only after he determined that "a caricature was not required". [3]

In 1998, Bourne and Shaw visited the US with a best of Bloolips production tilted Bloo Revue: A Bloolips Retrospectacle, a series of sketches "in an extremely loopy vein", said one glowing review.[30][31]

In 1999, Bourne played his friend Quentin Crisp in Tim Fountain's play, Resident Alien, at London's Bush Theatre.[32] The production toured widely and played in New York City and Sydney.[citation needed] Ben Brantley described its New York incarnation as "a compilation of wit, wisdom and reminiscence, delivered by an elderly person for whom personal style is a life force" and praised Bourne for "a performance that sweetens clinical observation with beneath-the-skin empathy".[33] Bourne's work received an OBIE for performance.[34] At the Edinburgh Festival Fringe in 2001, Bourne won a Herald Award for his portrayal of Crisp.[35] Fountain wrote two more plays for Bourne: H-O-T-B-O-I, which was produced at the Soho Theatre in 2004,[36] and Rock in 2008.[37]

Bourne played the role of Pauncefort Quentin in the Donmar Warehouse production of Noël Coward's The Vortex in 2002,[38] for which he won the Clarence Derwent Award.[citation needed] In 2005, he appeared in Ray Dobbins' Read My Hips at London's Drill Hall, playing the gay 20th-century Greek poet Cavafy.[39]

Bourne worked with Bartlett again at the Lyric Hammersmith in 2003, as the narrator in a production of Shakespeare's Pericles, Prince of Tyre starring Will Keen.[40] More Shakespeare followed in 2004 when Bourne played the nurse in Romeo and Juliet at Shakespeare's Globe.[41]

In 2005 at the Royal National Theatre Bourne played in Improbable Theatre's stage adaptation of the film Theatre of Blood.[42] For the Royal Shakespeare Company, Bourne played Dogberry in Shakespeare's Much Ado About Nothing at London's Novello Theatre in 2007. In Variety David Benedict wrote that the director dealt with the "usually unfunny" character by casting Bourne, who "plays marvelously high-status as a doddering gay captain of the guard and savors every last syllable of his character's language-mangling to high comic effect".[43]

That same year Bourne worked with the playwright Mark Ravenhill on a short play, Ripper, staged at the Union Theatre in London. Bourne played the role of Queen Victoria.[44]

In 2009, Bourne talked about his life in A Life in Three Acts at the Traverse Theatre, Edinburgh, a staged reading of transcripts of conversations with playwright Mark Ravenhill.[9][45]

In 2013, Bourne and Shaw gave a special retrospective performance titled A Right Pair, charting their journey together over 40 years with monologues and turns from selected productions.[46] In 2022, Bette appeared alongside Shaw as the Queen at Duckie's Alternative Royal Command event held at the Queen Elizabeth Hall, part of the Platinum Jubilee celebrations.[citation needed]

Tributes and death

In 2014, Bourne featured in a documentary film about his life and work, It Goes with the Shoes, written and directed by Mark Ravenhill. In The Guardian, Leslie Felperin called it "practically a microcosm of 20th-century gay culture" and called the archive material "ace".[47]

In 2019, an exhibition celebrating the legacy of Bloolips, In Pictures: Bloolips and the Empowering Joy of Dressing Up, was mounted at Platform Southwark in London.[48]

Bourne died at his home in Notting Hill, London, on 23 August 2024, at the age of 84.[49]

Acting credits

Theatre

Film

  • Caught Looking (narrator), 1991
  • My Summer Vacation (English interviewee), 1996; directed by Sky Gilbert, released to retail stores[55]
  • Chéri (Baroness), 2009[56][57]
  • Macbeth (porter), 2013; filmed version of the Shakespeare's Globe production
  • It Goes with the Shoes (himself), 2014; documentary[47]

Television

References

  1. ^ Cuthbertson, Ian (27 December 2010). "Bette Bourne: Gay life through the eyes of a show-off". The Australian. Archived from the original on 30 June 2015. Retrieved 3 September 2024.
  2. ^ Megson, Chris (24 May 2012). Modern British Playwriting: The 1970s: Voices, Documents, New Interpretations. A&C Black. pp. 81–. ISBN 9781408129395. Retrieved 5 August 2012.
  3. ^ a b c Taylor, Paul (10 September 1996). "Well, hell... nobody's perfect". The Independent. Retrieved 3 September 2024. Bourne intoned the famous "A handbag?" line in a new minted way, as though patiently humouring a lunatic, while the subversive radical side of this reactionary dowager was given an intriguing outlet through the gender ambiguity.
  4. ^ Folliard, Patrick (28 October 2010). "The Bourne Supremacy". Washington Blade. Retrieved 2 September 2024.
  5. ^ a b c d e Smith, Rupert (5 December 2005). "Straight theatre is all fake". The Guardian. Archived from the original on 27 April 2014. Retrieved 5 December 2005.
  6. ^ a b c d e Bourne, Bette (26 February 2004). "The Skin of our Teeth, Young Vic, 2004" (Interview). Interviewed by Howard Loxton. Retrieved 31 August 2024 – via Rogues & Vagabonds.
  7. ^ a b c Loxton, Howard. "A Life in Three Acts". British Theatre Guild. Retrieved 31 August 2024.
  8. ^ "Alumnus Bette Bourne Welcomed at Gala Event". Royal Central School of Speech & Drama. 12 February 2014. Retrieved 4 September 2024.
  9. ^ a b Ravenhill, Mark (23 August 2009). "The fabulous life of Bette Bourne". The Guardian. London.
  10. ^ a b "Edward II Credits". Ian McKellen Official Site. Retrieved 2 September 2024.
  11. ^ a b "Richard II Credits". Ian McKellen Official Site. Retrieved 2 September 2024.
  12. ^ "Bette Bourne". Unfinished Histories. Retrieved 25 August 2024.
  13. ^ Ravenhill, Mark (10 April 2012). "Bette Bourne - the Queen of London". Evening Standard. Archived from the original on 26 October 2018. Retrieved 3 September 2024.
  14. ^ "Gay veterans from 1970s will lead 2020 Pride march". QX Magazine. 18 June 2020. Retrieved 19 June 2021.
  15. ^ a b "Lavinia Co-op on how the Bloolips brought radical drag to the mainstream - and the Hackney Empire". Hackney Gazette (Interview). 14 March 2018. Retrieved 9 November 2022.
  16. ^ a b Hudson, David (19 July 2019). "What is 'radical drag' and who were Bloolips?". Gay Star News. Archived from the original on 20 July 2019.
  17. ^ "Negro Ensemble Wins an OBIE". New York Times. 2 June 1981. Retrieved 1 September 2024.
  18. ^ Gussow, Mel (14 May 1981). "Is the Theater All a Juggling Act?". The New York Times. Retrieved 9 November 2022.
  19. ^ Berson, Misha (15 January 1993). "Camping It Up with Bloolips". The Seattle Times. Retrieved 1 September 2024.
  20. ^ "Bloolips Archive". Bishopsgate Institute. Retrieved 1 September 2024. Catalogued by Barbara Vesey, November 2017 and February 2018
  21. ^ Kasino, Michael (director) (1993). BLOOLIPS (Motion picture). Retrieved 1 September 2024.
  22. ^ "Belle Reprieve". Split Britches. Retrieved 1 September 2024.
  23. ^ "1990s". OBIE Awards. Retrieved 1 September 2024.
  24. ^ Hampton, Wilborn (11 March 1991). "A Sendup of 'Streetcar'". New York Times. Retrieved 1 September 2024.
  25. ^ Holden, Stephen (9 September 1991). "'Sarrasine': Sexuality and Illusion". New York Times. Retrieved 25 August 2024.
  26. ^ a b Taylor, Paul (19 September 1996). "Theatre Sarrasine Lyric, Hammersmith". The Independent. Retrieved 9 November 2022.
  27. ^ "Radio/Spoken Word". Ian McKellen Official Site. Retrieved 2 September 2024.
  28. ^ a b Gates, Anita (19 May 1997). "Madness, With Slides". New York Times. Retrieved 1 September 2024.
  29. ^ Loki, Reynard (17 November 2008). "Bette Bourne Returns to the London Stage in Fountain's RESIDENT ALIENT". Broadway World. Retrieved 9 November 2022.
  30. ^ Hughes, David-Edward (25 February 1998). "Seattle's on The Board Imports Bloo Revue from U.K." Playbill.
  31. ^ Marks, Peter (13 June 1998). "Beginning With Chickens and Ending With Eggs". New York Times. Retrieved 1 September 2024. Some of the best gags fly on the flimsiest premises, as, for instance, when Bette, with the help of his dressers, suits up as Marie Antoinette to the strains of the 1812 Overture.
  32. ^ Jackson, Kate (12 December 2001). "Resident Alien". What's on Stage. Retrieved 1 September 2024.
  33. ^ Brantley, Ben (19 January 2001). "Bringing an Eccentric Old Friend Back for an Encore". New York Times. Retrieved 1 September 2024.
  34. ^ "2000s". OBIE Awards. Retrieved 1 September 2024.
  35. ^ "Thumbs up for the Bourne supremacy". The Herald. 31 August 2009.
  36. ^ a b Hutera, Donald (22 November 2004). "H O T B O I/Us". The Times. Retrieved 1 September 2024.
  37. ^ a b Burston, Paul (26 May 2008). "Bette Bourne is between a Rock and hard place". The Times. Retrieved 28 June 2021.
  38. ^ a b Billington, Michael (11 December 2002). "The Vortex". The Guardian. Retrieved 1 September 2024.
  39. ^ a b Hutera, Donald (16 December 2005). "Theatre: Read my hips". The Times. Retrieved 9 November 2022.
  40. ^ a b Billington, Michael (25 September 2003). "Pericles, Lyric Hammersmith, London". The Guardian. Retrieved 1 September 2024.
  41. ^ a b Spencer, Charles (21 May 2004). "If only Juliet had been a boy..." The Telegraph. Retrieved 1 September 2024.
  42. ^ a b "Theatre of Blood". Improbable. Archived from the original on 10 April 2008.
  43. ^ a b Benedict, David (20 December 2006). "Much Ado About Nothing". Variety. Retrieved 1 September 2024.
  44. ^ a b Ravenhill, Mark (14 October 2007). "Sometimes nothing's scarier than a bit of sponge and rubber tubing soaked in stage blood". The Guardian. London.
  45. ^ Jacques, Adam (11 December 2011). "How We Met: Mark Ravenhill & Bette Bourne". The Independent. Retrieved 9 November 2022.
  46. ^ a b "A Right Pair (The Marlborough Theatre, Brighton)". What's on Stage. 7 May 2012. Retrieved 1 September 2024.
  47. ^ a b Felperin, Leslie (13 February 2014). "Bette Bourne: It Goes With the Shoes – review". The Guardian. Retrieved 25 August 2024.
  48. ^ Burns, Sean (15 July 2019). "In Pictures: Bloolips and the Empowering Joy of Dressing Up". Frieze. Retrieved 9 November 2022.
  49. ^ Hannay, Mark L. (29 August 2024). "English "Radical Drag" Actor and Gay Rights Activist, Beloved by Downtown New York Theater Audiences, Dies at Age 84". Stage Voices. Retrieved 30 August 2024.
  50. ^ Goldberg, Jonathan (2018). Sappho Fragments. Punctum Books. p. 31. Retrieved 3 September 2024.
  51. ^ "Bette Bourne, Plays and Roles". Regents Park Open Air Theatre. Retrieved 4 September 2024. with a 'feathered cloake, hook-nose and bouffant hairstyle...sweeping across the stage like a bird of prey' (Evening Standard)
  52. ^ Upchurch, Michael (20 September 1991). "'Sarrasine' Is Energetic, Gender-Bending Opera-Vaudeville Mix". Seattle Times. Retrieved 3 September 2024. an ancient wreck of a man (played with gob-spewing hilarity by Bette Bourne
  53. ^ Taylor, Paul (31 May 1996). "Theatre: Funeral Games, Drill Hall, London". The Independent. Retrieved 25 August 2024.
  54. ^ Mooney, Lauren (22 September 2013). "The Lightning Child". Exeunt Magazine. Retrieved 1 September 2024.
  55. ^ Crew, Robert (4 March 2015). "Sky Gilbert". The Canadian Encyclopedia. Retrieved 1 September 2024.
  56. ^ Goodridge, Mike (10 February 2009). "Cheri". Screen Daily. Retrieved 1 September 2024.
  57. ^ Amador, Tavo (22 December 2009). "Cougar Supreme". Bay Area Reporter. Retrieved 2 September 2024. Bette Bourne has a tiny part as a cross-dressing Baroness, an allusion to one of Colette's real-life lovers.
Additional sources
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