Cherie Gordon Collection
Papers, c.1970’s-2010
(Bulk Dates: 1971-1994)
Manuscript Collection Number: 1
Accessioned: Gift of Cherie Gordon, 2000
Extent: 2.2 linear feet and non-manuscript material
Content: Plays, fiction manuscripts, correspondence, theatre programs and posters, press
releases, newspaper clippings, photographs, photographic/scrapbook albums, slides,
newsletters, audio-visual materials, memorabilia, and supporting related materials.
Access: This collection is open for research.
Processed: 2006, by Ronald S. Grantz. Revised 2010
Table of Contents
Biographical Notes
Scope and Content Note
Chronology
Important Subjects
Important Names
Series Outline
Contents List
Biographical Notes
Cherie Gordon was born in Burbank, California, on October 19, 1946, across from the
then Walt Disney Studios. Her father was a sergeant in the Army Air Corps during
World War II and was a decorated war hero who was the first American to escape from a
German prisoner-of-war camp. Her mother was a British war bride from Leister,
England. Once the war was over, her parents settled in the Los Angeles area. Her father
had his own car lot business for a short period of time before re-enlisting into the Air
Force. The family traveled to wherever her father was stationed, and in 1955, the family
moved to Vacaville, California, as her father had been transferred to Travis Air Force
Base. Cherie recalls that it was in Vacaville that she first wrote some short skits with
another student when she was in the 5th grade. In a few years her father moved the family
to Suisun Valley where she and her brothers grew up in the country. Cherie and her
brothers attended Armijo High School where she graduated in 1964. She excelled in
sports and decided to become a Physical Education teacher.
Cherie attended Napa Junior College, Sacramento City College, and Sacramento State
College (now California State University, Sacramento) graduating in 1969 with a major
in Physical Education and a minor in Speech. At that time there was no Theatre Arts
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Department at Sacramento State College, so Speech majors and minors were required to
take an acting course. That was her first introduction to acting.
Cherie put herself through college, even sleeping in her 1949 Willys Jeep Station Wagon
to conserve expenses, which was reported in the press. As a graduation present, her
father bought her an airplane ticket to fly around Europe. She cashed in the ticket when
she got to Norway and started hitchhiking around with a Dutchman. While in Oslo, she
became enamored with a Canadian woman, and because the woman did not believe
herself to be a lesbian, rejected any affectionate overtures from Cherie. Because the
woman was a challenge and because Cherie didn’t think of herself as a lesbian either, she
followed her in pursuit. Cherie hitchhiked to France to join the woman so that they could
hitchhike around Europe together. But after traveling to Switzerland and Italy, Cherie, in
frustration, left her in Venice and went on to Greece to work on tourist yachts as a deck
hand.
Leaving Europe in 1971, Cherie returned to the United States, hitchhiking through
Canada to get to California in time to enroll in a teacher credential program at
Sacramento State College. On her way through Canada, she contacted the Canadian
woman, but the woman was not very receptive of Cherie having contacted her.
Cherie did her student teaching in her minor because most of the female Physical
Education teachers were homophobic dykes, and she had a great mistrust for them.
While taking a dance class in the P.E. Department, Cherie re-met a former fellow student
from the acting class in 1969. Her name was Patty Wallace, and she would radically
change Cherie’s life from a struggling, unaware, naïve, hidden lesbian to a radical lesbian
feminist of the 1970’s.
In the 70’s, feminists were changing their patriarchal names where they would be more
self identified. Patty Wallace became Patricia or Patty One Person and later again, she
changed it to Matrisha or Matty One Person. Of course, matriarchy had to win out.
Matty wore a long military coat, a yellow plastic rain hat, a blonde Afro, and rode an old
girl’s bike. Cherie would see her at the Quad atop a short platform giving a speech about
lesbian and gay rights. She was fascinated with all this. Patty saw right through Cherie
and was more than willing to tell her that she was a lesbian. Patty seemed to be the
expert on lesbianism, so Cherie took her at her word. Soon enough Cherie was being
introduced to more than just the rhetoric of feminist lesbianism; she became a full-time
practitioner.
Patty was the movement’s messenger, as she hitchhiked back and forth from Sacramento
to Berkeley, picking up the latest propaganda coming out of the underground press. This
movement in Sacramento seemed to consist of no more than five or six women. Cherie
met Joan Hand and Diane Bulloch, Shannon Hennigan, and Margene Ludwig and Jamie
Pinkerton. These people seemed to be the movement and Cherie couldn’t wait to be a
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part of this group of rowdy rebel rousers. Cherie had already read The Second Sex, by
Simone de Beauvoir, when she had been in Europe, so she had a basic grasp of what
these women were demanding. She dove right in learning the feminist lingo and, before
long, she was teaching a class in the Communication Studies Department, labeled the
“Rhetoric of Feminism”. Patty One Person taught a course called the “Lesbian in
America” in the Women’s Studies Department. Soon after that a lesbian/gay speaker’s
bureau was started by Charles Moore and Marty Rogers who were both openly gay
professors at Sacramento State College. Barbara Bryant joined on later with speakers
Sue Cugene, Patty One Person, Shannon Hennigan, Joan Hand, and Frieda Smith. These
people were all lesbian and gay speakers who would, at times, connect with the feminists,
mostly the Lynch sisters: Pat, Kathleen, and Sheila, for demonstrations that dealt with
women’s issues.
Cherie was taken by Patty One Person to a party thrown by Pat Lynch. It was a small
house that was filled with both males and females. As one entered this tiny one bedroom
house, the walls were filled with slogans such as “Burn, Baby, Burn” and “Up Against
the Wall, Mother Fucker.” One of the Lynch sisters was boiling urine on the stove.
What was meant by this activity was beyond Cherie’s understanding. The entire place
bustled with energy, especially from Pat Lynch.
In the spring of 1971, Cherie had a dream about a rapist posing as a priest named, “Robin
Screw”. Patty and Cherie decided to create a short skit based on the dream and perform it
for Cherie’s parents who were flying in from Australia. They needed an actor to play
Robin Screw, so they asked a straight man, John White, to play the part. He thought it
was a kick, so the three of them went off to Fairfield to perform the skit. The women
wanted to be shocking, and needless to say, Cherie’s parents’ friends were in a catatonic
state after the troupe left.
An English teacher, Sue Cugene, was brought in to help rewrite it, and it was performed
at the Off Key, a lesbian bar in West Sacramento where they were paid by the owner Jack
Gaylord to perform on Sundays. Since they were college students, they were able to
make contacts with campus groups who would sponsor and invite them to perform on
campus. They went on to perform the play at Sacramento City College’s Art Court
Theatre, Sacramento State College, and took it to the Bacchanal, a women’s bar, in
Albany, California, an East Bay Area city. Since it was a short play, it was decided that a
second play would be added to the Bacchanal production. This second play was The
Psychoanalysis of Edward the Dyke, a play adapted from a poem by Judy Grahn. The
production was a hit and inspired Cherie and Mattie to keep working in the theater. The
troupe’s theater was a cross between guerrilla theater (San Francisco Mime Troupe) and
commedia dell’arte. It was outrageous for its blatant topic of homosexuality and
castration finales.
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Patty and Cherie liked the idea of a priest posing as a rapist because one of the enemies of
the Lesbian and Gay Movement was the Roman Catholic Church. So being crusader
rabbits, they decided to take on the Pope and his knaves. At first, the three budding
thespians improvised the script, and later Cherie added more dialog, and eventually they
had a written script that they could memorize. Once the party circuit learned that the
troupe wanted to entertain, they were put on the bill to perform in someone’s home.
People were so drunk and intoxicated with the torrent of social change that was sweeping
the country that their play, Robin Screw, was a hit, at least with the women. The gay men
were somewhat squeamish about the castration scene, where Robin Screw is exposed
(one giant dildo as a stage prop) and loses his most valued property.
In 1972 the Sacramento State College Gay Studies Program was formed and Patty One
Person and Shannon Hennigan organized a Lesbian Symposium whereby John White,
and Patty and Cherie would present their next masterpiece, The Homobrontosaurus. The
Symposium was organized to hear radical speakers such as Rita Mae Brown and Sally
Gearhart, along with poets, music, and theatre. The Homobrontosaurus was another
improvised play that was later scripted mostly by Patty One Person who also made the
giant lavender brontosaurus costumes with stitched on latex breasts and artificial lavender
fur for pubic hair. The theme was typical: downtrodden woman oppressed by brutish
man who happens to have two pet brontosauruses, Ugga and Bugga, who protect and
liberate Hannah from Harold. The resolution to this patriarchal oppression was once
again castration. The cast was Patty One Person as Ugga, Cherie Gordon as Bugga, Joan
Hand as Hannah, and Diane Bulloch as Harold.
Previous to the presentation of this play, the women had been at a lesbian symposium
workshop at UCLA on lesbian theatre when some Los Angeles lesbians asked them the
name of their troupe. None in the group knew French fluently, but thinking they needed
a chic and sophisticated name, Patty said, “Le Théâtre Lesbíen”. Later they learned at the
Gay Parade in San Francisco that they had not spelled lesbian in French correctly, but
they did not bother to change it. It was to remain in bastardized French, “Le Théâtre
Lesbíen”.
At the UCLA symposium Jeanne Cordova , author of Kicking the Habit: a Lesbian Nun
Story, was one of the major organizers. Robin Morgan, Kate Millet and Rita Mae Brown
were invited. Cherie and Matty were invited to stage another play. They took Robin
Screw, with Edgar Carpenter playing the villain Robin. This action created a major
controversy as the lesbian separatists wanted nothing to do with men and they certainly
didn’t want a man at their symposium. Cherie and Matty stood their ground and
performed Robin Screw with Edgar, but this was the last time they had a man on stage
until 1989. Edgar decided to drop out of the theatre and Cherie and Mattie decided that
they would no longer do political events. Their message was to come out and be proud of
who you were, and they would just carry that message in the theatre from then on.
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The plays that followed from 1972-1974 were of the same variety: The Victorian Affair,
or, Prince Albert’s Last Fuck (1972), Dragnet, (c.1972 and 1974), and The
Psychoanalysis of Edward the Dyke, (further refined, 1973), a poem by Judy Grahn that
was adapted for the stage by Le Théâtre Lesbíen. In 1972 Sue Cugene and Chris Farley
joined the theatre troupe, along with John White, Patty One Person and Cherie Gordon, to
perform Dykes on the High Seas and From Lesbos to Homophobia. All of these plays
were produced on a very low budget as they were poor, struggling college students who
were on a mission to reform society, and of course, to raise hell for their own delight.
However, everything was to change dramatically in the next two years.
In August 1974, Patty One Person and Cherie left California for Australia where Cherie
had been promised a job teaching Physical Education and drama. Le Théâtre Lesbíen
would not perform again for two years. Cherie recalls putting on one short play for some
Australian women in someone’s living room, but she didn’t think that their humor
translated as well as the success they had enjoyed in California. However, Patty and
Cherie did learn from a group of women who called themselves, The Shameless Hussies.
They were a singing group who were on tour from Adelaide and appearing in Melbourne.
Patty and Cherie wrote down some of the group’s lyrics, expecting to incorporate them
into their plays once they returned to the United States. Also while there, Cherie worked
on her master’s project about lesbians called, We’re Everywhere.
By 1975 Patty One Person had become Matrisha/Matty One Person and was more than
ready to return to Sacramento in 1976 to resume her college career. Cherie came back
and enrolled at California State University, Sacramento (formerly Sacramento State
College) in a graduate program to complete her master’s project. She was working on
her film, but it was the theatre that was her focus. Cherie bought an old bread truck to
carry actors and props around.
It was also in 1976 that Matty One Person and Cherie had an idea that they had borrowed
from the Australian women of creating a supper theatre. They finally learned that
“supper” didn’t mean “dinner”, it meant presentation in the evening. They thought about
presenting Christabel in Paris by The Shameless Hussies, but the play that it developed
into became a historical lesbian fashion show called Dykes on Parade. Madame
Szwambi was brought into the project and it was she who did the historical research on
the women and helped to write the play.
Both Matty and Cherie had learned a lot about lesbian herstory since there were more
books in publication about the Parisian lesbians. They mapped out chronologically the
historical dykes they wanted to portray, and they sketched this idea out to Pat Lynch who
then adopted the pseudonym of Madame Szwambi. Pat did not think highly of their crass
and vulgar style of writing, and she said that she was going to elevate them out of the
toilet. Thus, it was the beginning of a much larger theatrical troupe and better quality
writing than they had had between the years 1971-1974. Matty One Person wrote some
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of the song lyrics that some of these historical persons were to sing, and Cherie created
the sound track. Matty worked on gathering costumes from Sacramento State College’s
(California State University, Sacramento) Theatre Arts Department and made other ones.
Terry Wong and Kathy O’Donnell joined the group to work on graphics for posters and
T-shirts, and helped out as stage managers. The production was huge: some twelve
actresses, lighting and sound technicians, stagehands, and box office help. The
production premiered at Playwright’s Theatre, California State University, Sacramento in
June and was performed at Sacramento City College’s Student Union in October. It was
at Sacramento City College that the board of trustees, especially Bob Lynch, made quite a
fuss about the name, Dykes on Parade, but with the help of the Gay Student Union, the
play was performed.
Also in 1976, after five and one-half years of being a couple, Matty and Cherie separated.
Cherie kept the theatre and Matty left for the Art Institute of Chicago. In 1977, Madame
Szwambi wrote The Frog, a parody of D.H. Lawrence’s The Fox. The group toured the
Bay Area with “The Frog”, and it was there that Cherie discovered a talented costumer by
the name of Judith Rogers who made the frog costume. It was in this play that Cherie
met her new partner, Liz Fisk, and they went on to perform, A Skit, written by Madame
Szwambi for Sacramento’s first Gay Pride Parade in 1979. The play was performed on
the grounds of the State Capitol.
In 1978, in response to the rise of Anita Bryant, the third act of From Lesbos to
Homophobia was rewritten and presented as Homophobia. Late that year Cowdykes at
the Lavender Corral was written. This was a revision of a play that La Marc du Champs
had written earlier. It satirized the Berkeley dyke, the zealous feminist, bar dykes and the
femme-butch dichotomy.
In 1979, Le Théâtre Lesbíen produced Cowdykes at the Lavender Corral, written by La
Marc du Champs (Sue Cugene) and Cherie Gordon. In this play the women were able to
use those lyrics from The Shameless Hussies whom Matty and Cherie had met in
Australia. With a cast of eight, many stagehands and technicians, Cowdykes at the
Lavender Corral was performed at the Playwright’s Theatre at California State
University, Sacramento and at the Live Oak Theatre in Berkeley as well as at the Victoria
Theatre in San Francisco. Judith Rogers created the costume for the character, Ms. Edna.
Liz Fisk and Cherie separated in 1980 just as Cherie was starting a business, Flash
Gordon Costumes, located in Carmichael. Cherie was in business for ten and half years,
from September 1980 until February 1991, when she called it quits.
Flash Gordon Costumes was a sole ownership by Cherie Gordon, a business geared
towards an adult population where custom costumes could be rented and/or purchased. A
variety of accessories such as wigs, make-up, and novelties were sold. Cherie had
previously been employed by Claude Purvis who owned Capitol Costumes in downtown
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Sacramento, but Mr. Purvis sold the business to a group of college professors and
costumers. Cherie thereupon persuaded her father to advance her the money to start her
own business which opened in Carmichael because there were many former Capitol
Costumes customers in that area, and a rental unit was available owned by the
Metropolitan Army Navy store located at Fair Oaks Boulevard and Marconi Avenue.
The rent was reasonable at $300 a month.
After four years, the Metropolitan Army Navy owners decided to sell the property, and
therefore Cherie was forced to move her business to California Avenue and Fair Oaks
Boulevard in Carmichael; the rent was $350 per month. She ran the business herself
except at Halloween and Christmas when she hired from five to seven people. In 1984
Cherie added an additional line of clothing: Sir Winston’s tuxedos for weddings, proms,
and fancy dress events such as the Snow White Ball.
Since Cherie had space for costumes, it was easier than in earlier years for producing
lesbian plays. Costumes could be created and stored at the business address, and the
business could handle the insurance charges without additional cash. A business van, red
and yellow, with a rocket welded to the roof, was used to transport the costumes to
rehearsal and performance spaces.
At the Fifth Anniversary Party of Flash Gordon Costumes in 1985, Madame Szwambi
wrote Sappha Kahn, as she liked to characterize the owner, Cherie Gordon, as a greedy
capitalist only interested in profit while enslaving her employees to a life of servitude for
measly wages. A two-person camel costume was created for the event because it was too
expensive to Cherie to rent and transport a real camel to the store. Middle Eastern exotic
entrees were served which guests munched on while watching the play. A cake was
ordered which read, “She’s Cameled a Long Way Baby”. Cherie and her employees built
a stage outside the rear of the building, and Sappha Kahn was carried in atop the camel in
which two male employees were used to gallop onto the stage. It was a huge hit.
In 1982 Cherie asked Madame Szwambi to revamp and update Dykes on Parade. It was
a huge cast and stage crew. Cherie’s business provided the costumes, and the play was
far more elaborate than any past productions of Le Théâtre Lesbíen. Dykes on Parade
was staged at the Sierra 2 Theatre in Sacramento and toured San Francisco at the Victoria
Theatre and in Berkeley at the Live Oak Theatre.
No one made very much money from these productions, perhaps $50-$100 per performer,
and the younger actresses did not have the spirit of those who first worked in Le Théâtre
Lesbíen. There was discord in the theatre which soured Cherie for doing another play.
She took a hiatus from lesbian theatre and spent her time building up her costume
business. It wasn’t until 1986 that Cherie decided to create a ball in honor of a friend
who had died. Madamze Szwambi wrote Wine, Women, and War for the Botticelli Angel
Costume Ball which was held at the Greek Orthodox Hall on Alhambra Boulevard in
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Sacramento. Judith Rogers made the heads which blew wind onto a naked woman
serving as Venus standing in a giant clam shell. All guests were greeted by vestal virgins
bearing champagne and lavender carnations. Marcia Sellers wrote and sang the Botticelli
song with back-up from the all-female band, Tommy. Productions had become much
more costly than in the early years, and Cherie lost approximately three thousand dollars
on this production. The expense of a live band, insurance, food, liquor, costumes and
decorations were higher than the income earned. Once again, there was discord with the
actresses and the production team. And, once again, Cherie swore off lesbian theatre.
In 1987 Cherie decided to take a class in acting at Sacramento City College. She had
trusted employees in her shop that allowed her the time to get away from the business for
a few hours a day. She developed a love for Shakespeare, but it would be two years
before she landed a Shakespearean role. In the meantime, Cherie must have developed
amnesia about the difficulties of producing lesbian theatre.
In 1989 La Marc du Champs (Sue Cugene) and Cherie wrote Return of Cowdykes at the
Lavender Corral, which was a satire on country western dancing, dyke politics, and
bearable therapy. The play was performed at the Sierra 2 Theatre in Sacramento. Cherie
couldn’t wait for the play to end because of the personality conflicts. Once again, she
wore many hats in producing the play: writer, producer, costumer, and problem solver
with the production. This was Le Théâtre Lesbíen’s first time in allowing men into the
theatre since 1972 when Edgar Carpenter and John White performed. Return of
Cowdykes at the Lavender Corral was directed by John Mitchell, who also played the
character Ms. Edna, and Michael Saumure performed as Francesca Foodstampolini,
welfare mother turned therapist.
Only two more plays would be staged. Perfume Power was presented at the Gay
Freedom Day in June 1990, and The Psychoanalysis of Edward the Dyke was revived for
the Off Key Reunion in December 1994.
After closing Flash Gordon Costumes in 1991, Cherie went to live with Allyson Henson
in the Oak Park area of Sacramento. She became involved in neighborhood activism and
created the 19th Avenue Neighborhood Association. In 1997 Cherie ran for City Council,
but lost. She continued to work with the city to help make Oak Park a better
neighborhood in which to live.
In 1994 Cherie decided to produce a reunion at the Off Key bar in West Sacramento. She
was able to rent the original building and recreate a bar for one evening. Cherie located
the former owner, Jack Gaylord, whom they made into an honorary lesbian by giving him
a certificate and a clay clitoris. With advertising in Mom Guess What newspaper, over a
hundred women attended the reunion. Le Théâtre Lesbíen performed The Psychoanalysis
of Edward the Dyke, someone read Frieda Smith’s “Dear Dora, Diesel Dyke”, and
women danced to tunes of the 1970’s supplied by a DJ. Beer and wine were sold at 70’s
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prices: 25 cents for draft, $1.00 for a bottle of Bud, and 75 cents for wine coolers. What
an evening!
In 2000 Cherie moved from Oak Park, and in 2001 she took a job with the California
Youth Authority teaching English and drama. As of 2005 Cherie would still like to
produce “The Iron Butterfly Masquerade Ball”, but she has learned one needs two things
to produce theatre: time and money, and for now those are elusive items.
This Biographical Note was compositely written by Cherie Gordon, Michael Colby and
Ronald Grantz.
Scope and Contents Note
Le Théâtre Lesbíen was a unique theatre production company co-founded by Cherie
Gordon and Matrisha One Person (Patricia Wallace) in 1971. Its chief objective was to
provide cultural and politically relevant entertainment for lesbians. In the beginning
years the troupe developed a commedia dell’arte style in expressing its views about the
oppressive enemies of homosexuality. Such themes as rape, Catholicism, lesbian
stereotypes, male-female power struggles and heterosexism were the targets for this
disgruntled band of lesbian feminists. The original troupe consisted of Cherie Gordon,
Matrisha One Person (Patricia Wallace), and John White and soon they were joined by
new members Susanne Du Champs, Joan Hand, Chris Farley, and Edgar Carpenter.
The troupe disbanded between 1974 and 1976 while Cherie and Matrisha were studying
in Australia. While abroad, these intrepid women sharpened their dramatic and creative
skills and began to develop a more subtle and sophisticated approach to their craft. When
they returned to Sacramento, they were anxious to resurrect the theatre and expand its
scope to reach a wider audience.
In 1976 Madame Szwambi joined the troupe in order to sanitize the raunchy bawdiness
for which the troupe had quickly become infamous, writing with a witty style which
would attract both gay and straight audiences. After such productions as Robin Screw,
The Homobrontosaurus, and The Victorian Affair, or, Prince Albert’s Last Fuck,
Madame Szwambi knew the troupe was in dire need of some class and therefore wrote a
play that was to change the course of Le Théâtre Lesbíen. Dykes on Parade premiered at
California State University, Sacramento in June 1976 with a cast of 19 and was received
with standing ovations, as Madame Szwambi gloated over her triumphant purge of toilet
humor. In 1977 she wrote, The Frog, a parody of D.H. Lawrence’s, The Fox, which the
Berkeley right-on-dyke separatists labeled as “politically incorrect”. So the troupe wrote
more plays to satirize the seriously minded and the morally morose.
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From 1978-1979 La Marc du Champs and Cherie Gordon wrote Homophobia, a short,
bawdy comedy that was performed on local campuses in celebration of Gay Awareness
Week, and Cowdykes at the Lavender Corral which took aim at straight and gay
stereotypes. But in 1982, after a public cry for a return to decency, Madame Szwambi
revised and rewrote Dykes on Parade which was produced and directed by Cherie
Gordon with a cast and crew of 20 women. In 1986 Cherie produced the Botticelli Angel
Costume Ball to honor a friend who had died. Madame Szwambi wrote, Wine, Women,
and War, for this occasion. And, in 1989, Return of Cowdykes at the Lavender Corral, a
sequel to Cowdykes at the Lavender Corral went into production. The final plays that
were produced by Le Théâtre Lesbíen was Perfume Power which was performed at the
Sacramento Lesbian and Gay Freedom Parade in 1990, and The Psychoanalysis of
Edward the Dyke at the OFF KEY Reunion in 1994.
There are other plays and fiction manuscripts, written by other people, in this collection
which were collected by Le Théâtre Lesbíen but were never performed by them. These
plays appear in this guide as a subseries. Other materials included in this collection deal
with the business related materials of Le Théâtre Lesbíen and Flash Gordon Costumes.
The last series in the collection includes some personal papers of Cherie Gordon.
Non-manuscript materials in this collection include posters, photographs,
photographic/scrapbook albums, slides, films, soundtracks, audio cassettes, and
memorabilia.
The collection is arranged in three series in chronological order. Some non-manuscript
materials are arranged alphabetically for ease of use.
Chronology of Le Théâtre Lesbíen productions
1971-73
1972
1972
1972
1974
1974
1976
1977
1977
1978
1979
1979
1980
1982
1985
Robin Screw and The Psychoanalysis of Edward the Dyke
The Homobrontosaurus
The Victorian Affair, or, Prince Albert’s Last Fuck
Dragnet
Dragnet
From Lesbos to Homophobia
Dykes on Parade]
Draghet
The Frog
Homophobia
Cowdykes at the Lavender Corral
A Skit
Queer Quota
Dykes on Parade (revised version)
Sappha Kahn
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1986
1989
1990
1994
Wine, Women, and War for the Botticelli Angel Costume Ball
Return of Cowdykes at the Lavender Corral
Perfume Power
The Psychoanalysis of Edward the Dyke for the Off Key Reunion
Important Subjects
Lesbians – Drama
Lesbians – California – Sacramento
Lesbians in literature
Lesbians’ writings, American
American Drama – Women authors
American Drama – 20th century
Women – Drama
Feminism
Lesbianism
Important Names
Edgar Carpenter
Sue Cugini, pseudonym for Sue Cugene
La Marc du Champs, pseudonym for Sue Cugene
Suzanne du Champs, pseudonym for Sue Cugene
Chris Farley
Cherie Gordon
Pat Lynch, see also Madame Szwambi
Patricia Wallace, a.k.a. Patricia One Person, Matrisha One Person, and Matty One Person
Madame Szwambi, pseudonym for Pat Lynch
Le Théâtre Lesbíen
An index to plays, subjects and names is found on pp. 72-74.
Contents
5 File Boxes
2 Oversize Storage Boxes
2 Flat File Storage Boxes
2 Photograph and Scrapbook Albums
6 Negatives
160 Photographs (Photo MS1/P54 does not exist)
670 Slides
21 Posters (mounted and unmounted)
27 Audio Cassettes
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53 Films
13 Soundtracks
7 Miscellaneous Props and Memorabilia
Series Outline
Series I. Le Théâtre Lesbíen plays and non-Le Théâtre Lesbíen plays, fictions, jokes, and
sayings, c.1970’s-1992, arranged chronologically, Boxes 1-3
Subseries A. Le Théâtre Lesbíen plays, 1971-1992, arranged
chronologically, Boxes 1-3:
Plays, theatre programs, press releases, newspaper clippings, advertising flyers,
songs, and other materials related to the plays.
Subseries B. Non-Le Théâtre Lesbíen plays, fictions, jokes, and sayings, c.1970’s
- c.1976-77, arranged chronologically, Box 3:
Plays, fiction manuscripts, jokes, and sayings.
Series II. Le Théâtre Lesbíen business papers and Flash Gordon Costumes papers
relating to Le Théâtre Lesbíen productions, 1953-1994 (bulk papers, 1972-1994),
arranged chronologically, Boxes 3-4:
Correspondence, graphic designs, contractual agreements and forms, charters and
covenants, expense receipts, financial statements, sheet music, newspaper clippings,
sound recordings, the OFF KEY Reunion papers, and other supporting papers relating to
Le Théâtre Lesbíen business activities.
Series III. Personal Papers, c.1970’s-1977, arranged chronologically, Box 5:
Correspondence, pamphlets and booklets, newspaper clippings, flyers, programs,
newsletters, party invitations, and miscellaneous papers relating to personal activities.
Appendices
Appendix A:
Appendix B:
Appendix C:
Appendix D:
Appendix E:
Appendix F:
Appendix G:
Page
Le Théâtre Lesbíen play synopses ………………………………
Non-Le Théâtre Lesbíen play and fiction manuscript synopses ..
Posters and oversize negatives ………………………………….
Photographs ……………………………………………………..
Slides ……………………………………………………………
Audio Cassettes …………………………………………………
Films and Soundtracks ………………………………………….
27
48
55
58
62
65
67
MS1/CHERIE GORDON COLLECTION
Page 13
Appendix H: Memorabilia …………………………………………………….
Addenda:
71
Contents, Page 26; Play Synopsis, Page 75
Contents List:
Series I. Le Théâtre Lesbíen plays and non-Le Théâtre Lesbíen plays, fictions, jokes, and
sayings, c.1970’s-1992, arranged chronologically, Boxes 1-3
Subseries A. Le Théâtre Lesbíen plays, 1971-1992, arranged chronologically, Boxes 1-3
Box 1
1-1
[“Robin Screw: A Modern Satire in Farcical Style,” by Cherie Gordon and
Patricia Wallace]; play, incomplete ditto master of first version, [1971]
1-2
“The Homobrontosaurus,” [by Patricia Wallace and Cherie Gordon]; play,
handwritten draft, [1972]
1-3
[“The Victorian Affair, or, Prince Albert’s Last Fuck,” by Cherie Gordon and
Patricia Wallace]; play, typescript draft, [1972]
1-4
[“The Victorian Affair, or, Prince Albert’s Last Fuck,” by Cherie Gordon and
Patricia Wallace]; play, typescript photocopy with notations, [1972]
1-5
[“Dragnet,” by Cherie Gordon, Sue Cugini, Matty One Person, and Edgar
Carpenter]; play, handwritten draft, [circa 1972]
1-6
“The Psychoanalysis of Edward the Dyke,” [by Cherie Gordon and Patricia One
Person]; based on a poem by Judy Grahn; play, typescript stencil copy, [1973]
1-7
“Robin Screw: A Modern Satire in [Farcical] Style,” by Cherie Gordon and
Patricia One Person; play, typescript carbon copy with notations, 1973
1-8
“Robin Screw: A Modern Satire in Farcical Style,” by Cherie Gordon and Patricia
One Person; play, typescript carbon copy with notations, 1973
1-9
“Robin Screw: A Modern Satire in Farcical Style,” by Cherie Gordon and
Patricia One Person; play, final typescript draft, 1973
1-10
“Dragnet,” [by Cherie Gordon, Sue Cugini, Matty One Person, and Edgar
Carpenter]; play, typescript ditto copy with notations, [1974]
MS1/CHERIE GORDON COLLECTION
Page 14
1-11
[“From Lesbos to Homophobia: Three Eras of Lesbian Oppression,” by Cherie
Gordon, Suzanne du Champs, Patricia One Person, and Chris Farley]; play,
incomplete ditto master and incomplete mixed type duplicated copies, [1974]
1-12
“From Lesbos to Homophobia: Three Eras of Lesbian Oppression,” by Cherie
Gordon, Suzanne du Champs, Patricia One Person, and Chris Farley; play,
incomplete typescript photocopy, 1974
1-13
[“Dykes on Parade”]; actresses names and addresses lists, [1976]
1-14
“Dykes on Parade”; characters’ costumes list, [1976]
1-15
“Dykes on Parade”; characters’ costumes list modified, [1976]
1-16
“Dykes on Parade”; hand drawn flyer design, 6 Jun [1976]
1-17
[“Dykes on Parade”]; rehearsal schedules, [May-Jun and Sep-Oct 1976]
1-18
[“Dykes on Parade”]; notes, [c. Aug-Oct 1976]
1-19
“Dykes on Parade”; advertisement flyer, 20-21 Aug [1976]
1-20
“Dykes on Parade”; presented by Le Théâtre Lesbíen, Student Lounge,
Sacramento City College, Sacramento, poster, 11 x 16 inches, folded, 30-31 Oct
[1976]
1-21
“Dykes on Parade”; theatre programs, [1976]
1-22
“Dykes on Parade”; newspaper reviews, Oct-Dec 1976
1-23
“The Stars and Dykes Forever,” by Cherie Gordon and Matrisha One Person;
song used in “Dykes on Parade”, 1976
1-24
[“Draghet,” by Cherie Gordon and Sue Cugini]; play, incomplete first typescript
draft, [1977]
1-25
[“Draghet,” by Cherie Gordon and Sue Cugini]; play, typescript thermofax copy
with 3 typed index cards, [1977]
1-26
“Draghet,”[by Cherie Gordon and Sue Cugini]; play, final typescript draft, [1977]
1-27
“The Frog,” [by Madame Szwambi]; play, typescript ditto copy, [1977]
1-28
“The Frog”; press release for Playwright’s Theatre, Apr-May [1977]
MS1/CHERIE GORDON COLLECTION
Page 15
1-29
“The Frog”; newspaper reviews, Apr-Oct 1977
1-30
“The Frog”; theatre ticket, 21-22 May [1977]
1-31
“The Frog”; posters, each 11 x 17 inches, folded, 21-22 May [1977]
1-32
“The Frog”; reduced photocopy of poster, 10-11 Jun [1977]
1-33
“From Lesbos to Homophobia: From Joyful Lesbian Expression to Sorrowful
Oppression,” by Cherie Gordon, La Marc du Champs [and Matty One Person];
play, typescript, mostly photocopy, 1977
1-34
“From Lesbos to Homophobia: From Joyful Lesbian Expression to Sorrowful
Oppression,” by Cherie Gordon, La Marc du Champs [and Matty One Person];
play, typescript photocopy, rehearsal schedule and props list, 1977
1-35
[“Wine, Women, and War: A One Act Comedy”], by Cherie Gordon and La Marc
Du Champs; play, typescript photocopy with notations from the 1977 version of
“Lesbos to Homophobia”, 1977
1-36
“Homophobia,” [by Cherie Gordon, La Marc du Champs and Matty One Person];
revised play, typescript photocopy from the 1977 version of “Lesbos to
Homophobia”, [1977]
1-37
“Homophobia”; poster, 10 x 16 inches, folded, 14 and 21 Apr [1978]
1-38
“Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie Gordon;
play, typescript draft, [1978]
1-39
“Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie Gordon;
play, typescript photocopy with notations, [1978]
1-40
“Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie Gordon;
play, incomplete typescript photocopy with notations, [1978]
1-41
[“A Skit,” by Madame Szwambi]; play, first typescript draft, [1979]
1-42
[“A Skit,” by Madame Szwambi]; play, first photocopy of first typescript draft
with changes, [1979]
1-43
[“A Skit,” by Madame Szwambi]; play, second photocopy of first typescript draft
with changes, [1979]
MS1/CHERIE GORDON COLLECTION
Page 16
1-44
[“A Skit,” by Madame Szwambi]; play, third photocopy of first typescript draft
with changes, [1979]
1-45
“A Skit,” [by Madame Szwambi]; play, final typescript draft, 1979
1-46
“Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie Gordon;
play, typescript photocopy for 1979 production, [1979]
1-47
[“Cowdykes at the Lavender Corral”]; printing costs brochure, [circa Aug 1979]
1-48
[“Cowdykes at the Lavender Corral”]; activities calendar, Aug [1979]
1-49
[“Cowdykes at the Lavender Corral,”] by La Marc du Champs and Cherie
Gordon; photocopied scene changes for the Berkeley stage, [1979]
1-50
[“Cowdykes at the Lavender Corral,”] by La Marc du Champs and Cherie
Gordon; props, sets, and slide projection cue sheet, [1979]
Box 2
2-1
[“Cowdykes at the Lavender Corral”]; cue sheets for the Berkeley production,
[Sep 1979]
2-2
[“Cowdykes at the Lavender Corral”]; producer’s materials for the Berkeley
production, [Sep 1979]
2-3
“Cowdykes at the Lavender Corral”; advertisement flyer, 7-8 and 14-15 Sep
[1979]
2-4
“Cowdykes at the Lavender Corral”; reduced photocopy of poster, 21-22 and 2829 Sep [1979]
2-5
“Cowdykes at the Lavender Corral”; theatre program, [1979]
2-6
“Cowdykes at the Lavender Corral”; press releases, [1979]
2-7
“Cowdykes at the Lavender Corral”; [Francesca Foodstampolini’s] Token
Welfare Check, [Sep 1979]
2-8
“Cowdykes at the Lavender Corral”; guest pass, [1979]
2-9
[“Cowdykes at the Lavender Corral”]; notes, [1979]
MS1/CHERIE GORDON COLLECTION
Page 17
2-10
“Dyke Dianetics,” by Cherie Gordon; play, incomplete handwritten draft, [1980]
2-11
“Queer Quota,” by La Marc du Champs and Cherie Gordon; play, typescript draft,
[1980]
2-12
“Queer Quota,” by La Marc du Champs and Cherie Gordon; play, typescript
photography with notations, [1980]
2-13
“Queer Quota,” by La Marc du Champs and Cherie Gordon; play, typescript
photocopy with notations, [1980]
2-14
“Dykes on Parade,” by Pat Lynch; created for the stage by Cherie Gordon and
Matrisha One Person; revised play, typescript photocopy, 1982
2-15
“Dykes on Parade”; auditions flyer, 11 Feb [1982]
2-16
“Dykes on Parade”; ticket paste-up sheets, [circa Mar 1982]
2-17
“Dykes on Parade”; ticket sales tally sheets, [c. Apr]-18 Jun 1982
2-18
“Dykes on Parade”; characters’ costumes list, [1982]
2-19
“Dykes on Parade”; press releases, [1982]
2-20
[“Dykes on Parade”]; cut-outs for promotional materials design, [1982]
2-21
“Dykes on Parade”; presented by Le Théâtre Lesbíen, Sierra II Center for the
Community, poster, 11 x 17 inches, color reproduction, folded, 20-21 Aug [1982]
2-22
[“Dykes on Parade”]; theatre program, typed draft, [circa May 1982]
2-23
“Dykes on Parade”; theatre program, 1982
2-24
“Dykes on Parade”; newspaper reviews, Jun-Sep 1982
2-25
[“Dykes on Parade”]; miscellaneous notes [1982]
2-26
[“Dykes on Parade”]; notes, Aug 1982
2-27
[“Sappha Kahn,” by Madame Szwambi]; play, typescript draft, [1985]
2-28
[“Wine, Women, and War: A One Act Comedy”]; auditions notice, 2 and 9 Feb
[1986]
MS1/CHERIE GORDON COLLECTION
Page 18
2-29
“Wine, Women, and War: A One Act Comedy,” by Cherie Gordon and La Marc
du Champs, rewritten by Madame Szwambi; play, computer printout copy, 1986
2-30
“Wine, Women, and War: A One Act Comedy,” by Cherie Gordeon and La
Marc du Champs, rewritten by Madame Szwambi; two copies of the play, with
notations and production sheets for “The Botticelli Angel Costume Ball”, May
1986
2-31
[“Wine, Women, and War: A One Act Comedy”]; torn props list, [circa May
1986]
2-32
“The Botticelli Angel Costume Ball”; advertisement paste-ups for 10 May 1986,
[c. Feb-Apr 1986]
2-33
“The Botticelli Angel Costume Ball”; program paste-ups, [c. Feb-Apr 1986]
2-34
[“The Botticelli Angel Costume Ball”]; notes, Apr-May 1986
2-35
“The Botticelli Angel Costume Ball”; MGW newspaper ads, [Mar-Apr 1986]
2-36
“The Botticelli Angel Costume Ball”; female hostesses advertisements, [circa Apr
1986]
2-37
“The Botticelli Angel Costume Ball”; advertisement flyers, 10 May 1986
2-38
“The Botticelli Angel Costume Ball”; poster, 11 x 16 inches, folded, 10 May
1986
2-39
“The Botticelli Angel Costume Ball”; ticket paste-up sheet, 10 May 1986
2-40
“The Botticelli Angel Costume Ball”; program, [10 May 1986]
2-41
“Return of Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie
Gordon; play, typescript photocopy with notations, [1989]
2-42
“Return of Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie
Gordon; play, typescript photocopy with notations, [1989]
2-43
“Return of Cowdykes at the Lavender Corral”; audition form for Shelley
Droescher, [1989]
Box 3
MS1/CHERIE GORDON COLLECTION
Page 19
3-1
[“Return of Cowdykes at the Lavender Corral”]; handwritten members list,
[1989]
3-2
“Return of Cowdykes at the Lavender Corral”; advertisement flyer, 5-6, 12-13
and 19-20 May [1989]
3-3
“Return of Cowdykes at the lavender Corral”; poster, 17 x 11 inches, folded, 5-6,
12-13 and 19-20 May [1989]
3-4
“Return of Cowdykes at the Lavender Corral”; press release, [1989]
3-5
[“Return of Cowdykes at the Lavender Corral”]; songs used in production, [1989]
3-6
“Perfume Power,” by La Marc du Champs and Cherie Gordon; play, typescript
photocopy, 1990
3-7
[“Midsummer Dream,” or, “A Midsummer Dyke’s Dream,” by Cherie Gordon];
play, handwritten draft, [1992]
3-8
[“Midsummer Dream,” or, “A Midsummer Dyke’s Dream,” by Cherie Gordon];
play, typescript draft, [1992]
3-9
“Mdsummer Dream,”or, [“A Midsummer Dyke’s Dream,” by Madame
Szwambi]; play, typescript photocopy, version 1, [1992]
3-10
“Mdsummer Dream,” or, [“A Midsummer Dyke’s Dream,” by Madame
Szwambi], play, typescript photocopy, version 2, [1992]
Subseries B. Non-Le Théâtre Lesbíen plays, fictions, jokes, and sayings, c. 1970’s –
c. 1976-77, arranged chronologically, Box 3
Box 3 (Continued)
3-11
“Order of Events,” [unknown authorship]; play, typescript ditto copy, [circa
1970’s]
3-12
“The Independent Female, or, A Man Has His Pride,” by Joan Holden and
copyrighted by the San Francisco Mime Troupe; thermofaxed copy of published
play from unknown source, 1970
3-13
“Susie Goes to College,” [unknown authorship]; play, typescript photocopy,
[circa 1970-71]
MS1/CHERIE GORDON COLLECTION
Page 20
3-14
Menstrual Flow Notes,” [by Patricia Wallace]; jokes, typescript photocopy,
[circa 1971]
3-15
“Alice in Womanland: A Liberation Primer,” by [Kathy Vallakas]; play,
typescript ditto master, [circa 1971]
3-16
“Alice in Womanland: A Liberation Primer,” by [Kathy Vallakas]; play,
typescript ditto copy, [circa 1971]
3-17
“Anniversary: A Play in Two Acts,” by Cay Tretheway and Linda Tretheway;
play, typescript photocopy, [circa 1971]
3-18
“Pierrot le Coiffeur: Scenario of Pantomime,” pantomime of Gaspard and Charles
Deburau / set down by Emile Coby, translated by Mark V. Rose; play, typescript
ditto copy, 1971
3-19
“Cristabel in Paris,” [by The Shameless Hussies]; play, typescript thermofax
copy, [1974]
3-20
Cristabel in Paris,” [by The Shameless Husssies]; play, typescript thermofax copy
with notations, [1974]
3-21
[“Laredo,” by Pat Lynch]; incomplete play, part typescript ditto copy and part
typed draft, [circa 1976]
3-22
[“Loretto,” by Pat Lynch]; incomplete fiction manuscript; typescript photocopy,
[circa 1976-77]
3-23
[“Stone Sayings,” by Pat Lynch]; sayings, incomplete typescript ditto master,
[circa 1976-77]
3-24
[“Stone Sayings,” by Pat Lynch]; sayings, typescript ditto copy, [circa 1976-77]
Series II. Le Théâtre Lesbíen business papers and Flash Gordon Costumes papers
relating to Le Théâtre Lesbíen, 1953-1994 (bulk papers, 1972-1994), arranged
chronologically, Boxes 3-4
Box 3 (Continued)
3-25
I Love a Parade, words by Ted Koehler, music by Harold Arlen; sheet music,
1953
MS1/CHERIE GORDON COLLECTION
Page 21
3-26
“Lesbian Colloquium at California State University, Sacramento”; note on
presenting “The Homobrontosarus”, 1972
3-27
Le Théâtre Lesbíen; graphic designs, [circa 1973]
3-28
Le Théâtre Lesbíen; reduced photocopy of troupe logo, [circa 1973]
3-29
[Le Théâtre Lesbíen]; expense receipts for “Dykes on Parade”, Apr-Jun 1976
3-30
Sacramento State College/CSUS, Space Reservation Request Form; completed
form for “Dykes on Parade”, 10 and 15 May 1976
3-31
CSUS, Program Advising Office, Request to Raise Funds Form; completed form
for “Dykes on Parade”, 10 May 1976
3-32
“Lesbian Artists Out of the Closets and into the Theatre”; flyer, [1976]
3-33
Le Théâtre Lesbíen; contractual agreement forms, typescript ditto copies, [1976]
3-34
Le Théâtre Lesbíen; signed contractual agreements for “Dykes on Parade”, Apr
and Sep 1976
3-35
Theatre Metamorphose; letter and completed use form for “Dykes on Parade”,
[6-7 Nov 1976]
3-36
Le Théâtre Lesbíen; charter and covenant, typescript ditto copy, [1976]
3-37
Theatre names, contacts and addresses,; photocopied handwritten list, [1978]
3-38
Sacramento City College; Permit for Staff and Student Use of
Facilities/Activities; application form for “Homophobia”, 03 Mar 1978
3-39
Sacramento City College, Gay People’s Union; Gay Awareness Week; events
schedule listing the play “Homophobia”, 10-15 Apr [1978]
3-40
Le Théâtre Lesbíen; charter and covenant; typescript ditto copy, [1978]
3-41
Le Théâtre Lesbíen; blank rehearsal schedule forms, Jul-Aug [1979]
3-42
Le Théâtre Lesbíen; history, typescript photocopy, [1979]
3-43
Le Théâtre Lesbíen; blank contractual agreement form, typescript ditto copy,
1979
MS1/CHERIE GORDON COLLECTION
Page 22
3-44
Le Théâtre Lesbíen; signed contractual agreements for “Cowdykes at the
Lavender Corral”, [c. 07]-20 Jul 1979
3-45
CSUS, Space Reservation Request Form; completed form for “Cowdykes at the
Lavender Corral”; 08 Aug 1979
3-46
Live Oak Theatre, Berkeley, California; information packet, 1978-81
3-47
California Arts Council, and, Sacramento Metropolitan Arts Commission; grants
information, 1979-81
Box 4
4-1
U.S. Dept. of the Treasury; tax form for distilled spirits, beer and wine, 1980
4-2
Le Théâtre Lesbíen; blank contractual agreement form, typescript photocopy,
1982
43
United-Tribune Community Resources Center; operational policies and
guidelines, [circa 1982]
4-4
24th Street Theater; “Permit to Use” and “Calendar Listing” forms, Mar and Jul
1982
4-5
A Woman’s Place Bookstore and Information Center; Consignment/Periodical
Accounts Form for “Dykes on Parade” T-Shirt sales, 07 Jul 1982
4-6
Le Théâtre Lesbíen; signed contractual agreements for “Dykes on Parade”,
[undated]-20 Jul 1982
4-7
Flash Gordon Costumes; program advertising invoices for “Dykes on Parade”, 07
Apr-09 Sep 1982
4-8
[Le Théâtre Lesbíen]; financial statements for “Dykes on Parade”, [1982]
4-9
Lesbian Herstory Archives; lesbian theatre history, correspondence, flyers,
[c.1970’s-1983]
4-10
Theatre facilities; brochures, policies and regulations, [undated]-02 Oct 1984
4-11
[Le Théâtre Lesbíen]; miscellaneous materials and music for proposed “Dykes on
Parade” production at the Theatre Rhinoceros, San Francisco, 09 Jan 1986
MS1/CHERIE GORDON COLLECTION
Page 23
4-12
[Le Théâtre Lesbíen]; budget for “The Botticelli Angel Costume Ball” and “Wine,
Women, and War: A One Act Comedy”, [1986]
4-13
Tommie (women’s rock band); photocopied news clippings and flyers, 10 Sep
1985-28 Feb 1986
4-14
Bay Area/Sacramento Valley theatre events and activities; listing sources, 1986
4-15
You Never Gave Up on Me, and, Too Many Lovers, by Crystal Gayle; sound
recording, Columbia, 45 rpm, 1981 and 1982
4-16
You Fool, and, Long Shot, by Baillie and The Boys, sound recording, RCA, 45
rpm, 1987 and 1988
4-17
New Fool at an Old Game, and, You’re the One I Dream About, by Reba
McEntire; sound recording, MCA Records, 45 rpm, 1988
4-18
Sacramento City Actors Theatre presents “Shakespeare in the Park”;
advertisement flyer, Jul 1988
4-19
SARTA UPDATE; theatre newsletter, Oct 1988
4-20
Le Théâtre Lesbíen; charter and covenant, typescript photocopy, [1989]
4-21
Le Théâtre Lesbíen; address and telephone directory, typescript ditto copy, [circa
1989]
4-22
The Ink Spot Print Shop; work order for posters, flyers and tickets for “Return of
Cowdykes at the Lavender Corral”; 21 Mar 1989
4-23
Le Théâtre Lesbíen; signed contractual agreements for “Return of Cowdykes at
the Lavender Corral”, Apr 1989
4-24
Ticket Craft; ticket organizer packet with sample tickets, 1989
4-25
Le Théâtre Lesbíen; charter and covenant, typescript photocopy, [1990]
4-26
Le Théâtre Lesbíen; charter and covenant, typescript photocopy, [1991]
4-27
Le Théâtre Lesbíen; job descriptions, typescript photocopy, [undated]
4-28
[Le Théâtre Lesbíen]; lighting information, [undated]
MS1/CHERIE GORDON COLLECTION
Page 24
4-29
[Le Théâtre Lesbíen] “Royal Subjects Song Sheet”; typescript photocopy,
[undated]
4-30
“Places to Post and/or Leave Flyers for Concerts” in Sacramento; typescript
photocopied list, [undated]
4-31
“Publicity Distribution Centers in the Bay Area and S.F.”; typescript list,
[undated]
4-32
[Le Théâtre Lesbíen], Public Appearance Agreement form; typescript draft,
[1986]
4-33
[Le Théâtre Lesbíen], Public Appearance Agreement form; typescript photocopy,
[1986]
4-34
[Le Théâtre Lesbíen]; correspondence, 14 Apr 1978-10 Jan 1997
4-35
“The ‘OFF KEY’ Reunion”; notes, [circa Nov 1994]
4-36
“The ‘OFF KEY’ Reunion”; original map, [c. Nov-Dec 1994]
4-37
“The ‘OFF KEY’ Reunion”; press release, 18 Dec [1994]
4-38
“The ‘OFF KEY’ Reunion”; tickets, [18 Dec 1994]
4-39
“The ‘OFF KEY’ Reunion”; advertisement flyer with map on verso, 18 Dec
[1994]
4-40
“The ‘OFF KEY’ Reunion”, and, “A History of Lesbian Bars in Sacramento” on
verso; advertisement flyer, [18 Dec 1994]
4-41
A History of Lesbian Bars in Sacramento”; poster, 11 x 14 1/2 inches, folded, [18
Dec 1994]
4-42
“The ‘OFF KEY’ Reunion”; guest book, 18 Dec [1994]
Series III. Personal papers, c.1970’s-1997, arranged chronologically, Box 5
Box 5
5-1
“Profane Expert On Smut”; published commentary by Cherie Gordon, [circa
1970’s]
MS1/CHERIE GORDON COLLECTION
Page 25
5-2
Homosexual! Letters to Aelred from Desmond O’Connor, S.J.; booklet, 15 Aug
1975
5-3
“The Merry Wanderers in the Night …”; costume party invitation, 17 Jul 1976
5-4
Cherie Gordon; newspaper clipping, [c. Apr-May 1977]
5-5
“Rally at State Capital protesting anti-homosexual bills in the Assembly and John
Briggs resolution”; notes, [1977]
5-6
Ponderosa News; personalized souvenir newspaper from Virginia City, Nevada,
[circa 1978]
5-7
Cherie Gordon; resume, 1980
5-8
Flash Gordon Costumes; California State Board of Equalization Sellers Permit,
Jul 1980
5-9
San Francisco International Lesbian and Gay Film Festival; program, 21-26 Jun
[1982]
5-10
West Coast Lesbian Collections; letter and archival newsletter, 1983
5-11
Cherie Gordon; credit card charge receipts, 19 Apr-22 Jul 1984
5-12
“Useful Information for Sound Women”; definitions and check list, [circa 1985]
5-13
“Love and Anarchy, Part II,” [by Madame Szwambi]; videocassette, VHS format,
running time not listed, Feb 1985
5-14
City of Sacramento, Dept. of Law; discrimination correspondence, 21 Mar-14
May 1985
5-15
[Cherie Gordon]; notes, [circa 4-5 May 1986]
5-16
““Act Out” Presents ‘Lesbian of the Year’”; bumper sticker designed by Cherie
Gordon, [1987]
5-17
Milwaukee Glove Company; glove brochure, 1987
5-18
Flash Gordon Costumes; party invitation celebrating the seventh year in business,
11 Oct 1987
MS1/CHERIE GORDON COLLECTION
Page 26
5-19
Flash Gordon Costumes; advertisement layout, [circa Oct 1988]
5-20
San Francisco Bay Area Gay & Lesbian Historical Society; newsletter, Jun 1988
5-21
Achievement Award; blank form, 1993
5-22
Cherie Gordon for City Council; newspaper clipping, Jan 1997
5-23
“Cherie Gordon for City Council”; flyer, [1997]
5-24
“Head/Neck Exercise Sheet”; illustrated list, [undated]
5-25
Miscellaneous note, [undated]
5-26
‘DYKE’; arm patch, [undated]
ADDENDA
Additional contents were found at a later date and have been added here.
5-27
“Gertrude, Alice, Radclyfe, Una in Paris,” [by The Shameless Hussies]; play,
typescript thermofax copy, [c. 1974]
5-28
“Dykes on Parade,” [by Madame Szwambi, Cherie Gordon, and Matrisha One
Person]; prompt cards, typescript draft, [1982]
5-29
“Dykes on Parade,” [by Madame Szwambi, Cherie Gordon, and Matrisha One
Person]; photocopy of prompt cards, [1982]
5-30
“Dykes on Parade,” [by Madame Szwambi, Cherie Gordon, and Matrisha One
Person]; play, typescript photocopy with pasted-in text changes, 1982
5-31
“Dykes on Parade,” [by Madame Szwambi, Cherie Gordon, and Matrisha One
Person]; play, typescript photocopy of pasted-in version with corrections, 1982
5-32
“Dykes on Parade,” [by Madame Szwambi, Cherie Gordon, and Matrisha One
Person]; play, final typescript photocopy of pasted-in version with corrections,
1982
5-33
Humboldt State University; correspondence to Cherie Gordon on the play “Wine,
Women, and War”, 3 May 1988
MS1/CHERIE GORDON COLLECTION
Page 27
APPENDIX A
Le Théâtre Lesbíen Play Synopses, 1971-1992
Chronciled here are the plays of Le Théâtre Lesbíen that include the cast of characters,
play themes, known performances, and where performed. The plays are arranged
chronologically.
1971-1973
“Robin Screw: A Modern Satire in Ancient Style,” by Cherie Gordon and Patricia
Wallace (One Person); play, 1971 and 1973. (This play synopsis is taken from the 1973
version).
Cast of Characters:
Fairy Marian - Lesbian forest fairy
Stephanie and Charlotte - Two women raped by Robin Screw
Father John, a.k.a., Robin Screw
Synopsis:
“Robin Screw” is set in the Hamlet of Hamsnot in Merry Olde England in 1566. In this
modern satire in farcical style, Charlotte and Stephanie, two raped women, set out to find
Robin Screw, the man who has raped both of them. With the help of lesbian Fairy
Marian the two women dress as men, discover the wonders of lesbian love, and find
Robin Screw who turns out to be Father John.
Themes: Lesbianism
Known performances:
It was first performed privately in the home of Cherie Gordon’s parents in 1971.
It was first performed publicly at the Off Key, a lesbian bar, in West Sacramento in 1971.
It was also performed at the Zodiac Bar, West Capital Avenue, West Sacramento, circa
1972 and also at an unknown café in San Francisco in 1972.
It was also performed at Sacramento City College, Art Court Theatre, Sacramento,
California, circa 1972 and at the Bacchanal, a women’s bar, 1369 Solano Avenue, in
Albany, California, an East Bay Area city, also circa 1972.
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1972-1973
The Psychoanalysis of Edward the Dyke,” by Cherie Gordon and Patricia One Person;
based on a poem by Judy Grahn; play, 1972-73.
Cast of Characters:
Dr. Merlin Knox
Edward the Dyke
Synopsis:
Dr. Merlin Knox attempts to convert Edward the Dyke into the typical American
housewife through psychoanalysis and electric shock therapy.
Themes: Lesbianism
Known performances:
This play was performed in 1971 at the Off Key, a lesbian bar, in West Sacramento,
California, and again in 1994 at the Off Key for the Off Key Reunion.
This play was also performed at the Bacchanal, a women’s bar, 1369 Solano Avenue,
Albany, California, circa 1972.
1972
“Dykes on the High Seas,” by Cherie Gordon and Patricia Wallace; play, 1972.
Cast of Characters:
Captain Calico Jack
Anne Bonny - A pirate
Mary Reed- A pirate
Two shipmates
Synopsis: Lesbianism
The play was completely improvised. A script was never written for this play.
Themes: Lesbianism
Known performances:
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This play was performed at the OFF KEY Bar in West Sacramento in 1972.
1972
“The Homobrontosaurus,” by Patricia Wallace and Cherie Gordon; play, 1972
Cast of Characters:
Hanna and Harold, a prehistoric woman and man
Ugga and Bugga, two lesbian brontosauruses
Synopsis:
Two lesbian brontosauruses living in the forest dance and sing of the attributes of lesbian
love, and make love. Hanna, a human woman, and the brontosauruses become friends,
but all that Harold, a human male, sees in them is their meat. And, all that Harold can
think about is sex and killing. The brontosauruses convince Hanna that she is oppressed
and that they have a woman for her. Hanna is to meet them at the marsh. Back at the
cave Hanna tells Harold to do half of the chores, they fight, and Hanna leaves to do
laundry. Hanna meets the brontosauruses and the woman at the marsh, and Hanna invites
the woman to meet her at the cave. Back at the cave Hanna and Harold have another
fight and Harold leaves for the bush. The woman arrives, and while they are making
love, Harold returns, catches them, and goes wild. The brontosauruses appear and carry
Harold away. Hanna and her lover are reunited.
Themes: Lesbianism
Known performances:
This play was performed at the Main Theatre, Sacramento State College (now California
Sate University, Sacramento) for a Lesbian Symposium on Dec. 8, 1972.
1972
“The Victorian Affair, or, Prince Albert’s Last Fuck,” by Cherie Gordon and Patricia
Wallace; play, 1972
Cast of Characters:
Prince Albert and Queen Victoria
Athena - Chambermaid to Prince Albert and Queen Victoria
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Jester, a.k.a. Prince Albert
Synopsis:
Prince Albert and Queen Victoria contest each other for power as Victoria ventures into a
lesbian relationship with Athena, the chambermaid. Albert, in frustration, and disguised
as a court jester, rapes Athena. But he is later caught by the two women. Victoria
intones, “A king without a kingdom is lost for sure, but a man without a prick can’t fuck
anymore.”
Themes: Lesbianism
Known performances:
This play was performed at Sacramento State College (now California State University,
Sacramento) for a Lesbian Symposium in 1973.
Performances were also referenced in a December 1972 newspaper clipping, but no
specific dates or theatres were listed.
c. 1972
“Dragnet,” by Cherie Gordon, Sue Cugini, Matty One Person, and Edgar Carpenter;
play, c. 1972
Cast of Characters:
Mr. Rod - Laundromat owner
Josephine Friday - L.A. (Lavender Angeles) police sergeant
Billy Joe Gannon - L.A. (Lavender Angeles) police sergeant
Sally Switchhitter - A bisexual police informant
Mother Goose - Reverend of the Church of the Goddess
Dick Cocker - A heterosexual male impersonating a woman
Synopsis:
L.A. (Lavender Angeles) dyke patrol sergeants Friday and Gannon investigate a
Laundromat owned by Mr. Rod that is a cover for a heterosexual whorehouse. In
particular, they are looking for Dick Cocker, a heterosexual man posing as a woman.
With the help of the bisexual informant, Sally Switchhitter, they nab their man at “her”
wedding ceremony at the Church of the Goddess. Cocker is arrested for impersonating a
woman.
Themes Lesbianism
Known performances:
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Some versions of “Dragnet” were performed at the Off Key, a lesbian bar, in West
Sacramento, California.
1974
“Dragnet” by Cherie Gordon, Sue Cugini, Matty One Person, and Edgar Carpenter; play,
1974
Cast of Characters:
Josephine Friday - L.A. (Lavender Angeles) police sergeant
Billy Joe Gannon - L.A. (Lavender Angeles) police sergeant
Connie Lingus and Virginia Ina - A lesbian couple
Lucy Lingus - The couple’s daughter (also called Loose Lingus)
Trixie le Tricke - Lucy’s girlfriend
Dick Cocker - A heterosexual man impersonating a woman
Mother Goose - Reverend of the Church of the Goddess
Synopsis:
L.A. (Lavender Angeles) dyke patrol sergeants Friday and Gannon investigate the
disappearance of Lucy “Loose” Lingus. Her mothers suspect that she has been
kidnapped by the heterosexual woman impersonator Dick Cocker. Friday and Gannon
interview Trixie le Tricke, Lucy’s girlfriend, but no leads turn up there. Through a police
informant, Sally Switchhitter, Friday and Gannon catch Cocker at the Church of the
Goddess. Dick Cocker is arraigned in court and convicted on charges of impersonating a
woman, forging a marriage license, contributing to the delinquency of a minor, and
violating California Penal Code 869 with intent to commit heterosexual copulation.
Themes: Lesbianism
Known performances:
This and other versions of the play were performed at the Off Key, a lesbian bar, in West
Sacramento, California.
1974
“From Lesbos to Homophobia: Three Eras of Lesbian Oppression,” by Cherie Gordon,
Suzanne du Champs, Patricia One Person, and Chris Farley; play, 1974
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First Act: (Synopsis taken from final completed version)
“From Lesbos to Homophobia.” (Also entitled “The Sapphic Era” in the first draft).
(Also entitled: “Wine, Women, and War: A One Act Comedy” in 1986.)
Cast of Characters:
Hippolita - Queen of the Amazons
Antiope - Hippolita’s servant
Sappho - Poetess of Lesbos
Athena - Goddess of Wisdom
Synopsis:
Fighting off an invasion of Spermy Spartans, Hippolita, Queen of the Amazons, seeks
women warriors from Sappho on her island of women, Lesbos. Rough and tumble and
butch, Hippolita isn’t attracted to gentle, feminine Sappho until Athena, Goddess of
Wisdom, intervenes.
Themes: Lesbianism
Second Act:
“The Arrangement”
Cast of Characters:
Juvenal - Father of Clitorini and a woman hater
Penini - Proposed son-in-law of Juvenal
Clitorini - Daughter of Juvenal
Vaginina - Clitorini’s lover
Sappho Star - The voice of Sappho
Inn Keepers
Synopsis:
In this play two noble Roman daughters revolt against their fate as wives. Those who are
not wives are suspect of being lesbians, and so be our two heroines. The young women’s
love for each other is interrupted by Juvenal, the tyrannical father who, in recorded
history, is one of the most notorious woman haters. His daughter, Clitorini, and her
lover, Vaginina, are fictional characters. The play begins in Rome about 100 A.D. where
Juvenal is preparing his daughter’s marriage with the man of his choice, Penini.
Themes: Lesbianism
Third Act:
“Homophobia: The Christian Era” (incomplete script)
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Cast of Characters:
St. Paul
Brothers Hippocrates, Testocules, Penocles, and Erectus
Synopsis:
In this play St. Paul tells his priests there should be no homoerotica, no cunnilingus, no
fellatio, and no single heterosexuals. Sex should be in the missionary position only and
for the sole purpose of having children. He encourages his priests to go forth and
conquer for the Lord, and to save the children from queerdom by making the queer
sinners pay for their sins. The church will write rules of behavior to wipe out any
abhorrent behavior. Their mission is to stamp out homosexuality and lesbianism.
Themes: Lesbianism; Religion and homosexuality
Known performances:
This play was first performed at the Casino Club on 16th Street in Sacramento, California,
in 1974.
1976
“Dykes on Parade,” by Madame Szwambi; play, 1976
Cast of Characters:
Various historical lesbian figures
Various modern day lesbian archetypes
Synopsis:
“Dykes on Parade” presents funny, witty, and satirical renditions of about 35 historical
lesbians from early history to the present day (1976) in a fashion show format. The
purpose of the presentation is to parallel the historical lesbian as a positive role model, to
bring to the gay community an awareness of its past, and to poke a little fun at the
modern day community. Meticulously researched, “Dykes on Parade” gives insight into
some great women while the satirical basis of the lyrics and the songs give the audience
something to laugh about, as well as feeding them information about their heritage.
The first half of the show is devoted to the historical lesbian while the second half
consists of different archetypes of current day lesbians.
Some of the historical characters presented include: Sappho, from the island of Lesbos;
swashbuckling pirates Anne Bonny and Mary Reed who terrorized the seas in the 1700s;
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the Swedish Queen, Christina; Gertrude Stein and Alice B. Toklas; Quaquam, a
Blackfoot warrior; Parisian novelist Colette, and French poet Renée Vivien.
Some modern day characters include: Rosie the Riveter; the 1950s bar dyke; the 1960s
gym teacher; and a quartet of military lesbians: Sergeant Sappho, Lieutenant Lesbos,
Dyke Commando, and Camp Alice.
Themes: Lesbianism
Known performances:
Playwright’s Theatre, California State University, Sacramento, 6 Jun 1976 (premiere ).
Sierra II Center for the Community, Sacramento, 20-21 Aug 1976
Bethany Theatre, San Francisco, 16-17 Oct 1976
Student Lounge, Sacramento City College, Sacramento, 30-31 Oct 1976
Metamorphose Theatre, Berkeley, 6-7 Nov 1976
1977
“The Frog,” by Madame Szwambi; play, 1977
Cast of Characters:
Alice - A feminine lesbian living on a chicken farm with Jesse
Jesse - A butch lesbian living on a chicken farm with Alice
The Frog - A frog that’s eating the women’s chickens
Ivor - Son of the former farm owner
Voice - Off-stage voice
Synopsis:
In this broad and shameless parody of the film version of “The Fox”, Jesse and Alice, two
women living on a chicken farm, are emotionally but not sexually involved with each
other. Of major concern to them is “the Frog” which keeps raiding chickens in the
chicken coup. Ivor, the former owner’s son, and who is the exaggerated symbolic
representation of a brutish life force that threatens the relationship of the women, appears
one night and promptly seduces Jesse. Ivor is called away to his sister’s funeral, and
while he is gone, Jesse and Alice consummate their relationship. Ivor returns and,
finding a lesbian relationship not to his liking, leaves the farmhouse. While out hunting
to kill “the Frog”, the women encounter Ivor and his new love, “the Frog”. By the end of
the play, Jesse and Alice, and Ivor and “the Frog”, are wallowing in sensuality and
enjoying every minute of it.
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Themes: Lesbianism
Known performances:
Playwright’s Theatre, California State University, Sacramento, 16-17 Apr and 21-22 May
1977
Live Oak Theatre, 1301 Shattuck Avenue, Berkeley, California, 10-11 Jun 1977
1977
“Draghet,” by Cherie Gordon and Sue Cugini; play, 1977
Cast of Characters:
Josephine Friday - L.A. (Lavender Angeles) police sergeant
Billy Joe Gannon - L.A. (Lavender Angeles) police sergeant
Thursday - L.A. (Lavender Angeles) police sergeant
Stephanie Stoolie and Ursula Uncertain - A teenage lesbian couple
Stephen Straight - A heterosexual closeted teacher
Synopsis:
In this episode, sergeants Gannon and Thursday investigate a heterosexual closeted
teacher, Stephen Straight, who is trying to convert Stephanie’s lover, Ursula, to
heterosexuality. Ursula is returned to her gym where she becomes certain about her true
homosexual orientation after dribbling a ball for two days straight. Stephen Straight is
convicted for contributing to the delinquency of a minor.
“Draghet” is a satire on the transformation from a straight society to a gay society and
employs role reversal with its prejudice towards heterosexual teachers.
Themes: Lesbianism
Known performances:
“Draghet” was performed in 1977 in the wake of the threatening passage of Proposition 6
and Anita Bryant’s presence in California. A rally was held at the State Capital to
denounce Anita Bryant’s and John Briggs’ lies about gay teachers.
1977
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“From Lesbos to Homophobia: From Joyful Lesbian Expression to Sorrowful
Oppression,” by Cherie Gordon, La Marc du Champs and Matty One Person; revised
play, 1977
First Act:
“From Lesbos to Homphobia”. Also in 1986 entitled: “Wine, Women, and War: A One
Act Comedy”
Cast of Characters:
Hippolita – Queen of the Amazons
Antiope – Hippolita’s servant
Sappho – Poetess of Lesbos
Athena – Goddess of Wisdom
Synopsis:
Fighting off an invasion of Spermy Spartans, Hippolita, Queen of the Amazons, seeks
women warriors from Sappho on her island of women, Lesbos. Rough and tumble and
butch, Hippolita isn’t attracted to gentle, feminine Sappho until Athena, Goddess of
Wisdom, intervenes.
Themes: Lesbianism
Second Act:
“The Arrangement”
Cast of Characters:
Juvenal – Father of Clitorini and a woman hater
Penini – Proposed son-in-law of Juvenal
Clitorini – Daughter of Juvenal
Vaginina – Clitorini’s lover
Sappho Star – The voice of Sappho
Inn Keepers
Synopsis:
In this play two noble Roman daughters revolt against their fate as wives. Those who are
not wives are suspect of being lesbians, and so be our two heroines. The young women’s
love for each other is interrupted by Juvenal, the tyrannical father who, in recorded
history, is one of the most notorious woman haters. His daughter, Clitorini, and her
lover, Vaginina, are fictional characters. The play begins in Rome about 100 A.D. where
Juvenal is preparing his daughter’s marriage with the man of his choice, Penini.
Themes: Lesbianism
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Third Act:
“Homophobia: The Christian Era”
Cast of Characters:
St. Paul
Brothers Hippocrates, Testocules, Penocles, and Erectus
Anita Bryant – The Orange Juice Queen and anti-gay activist
Lana Leziana – A lesbian mother
Diana Dykos – A Lesbian mother.
Synopsis:
In this 1977 comedy version, St. Paul tells his priests there should be no homoerotica, no
cunnilingus, no fellatio, and no single heterosexuals. He encourages his priests to go
forth and conquer for the Lord. Their mission is to stamp out homosexuality and
lesbianism. St. Paul and Anita plot against the gays by having Anita raise lots of money
while St. Paul scares people with queer fear. Anita’s pitch is that teachers are presenting
themselves as role models for children and are recruiting them for their lifestyle. At a
Christian rally, Lana and Diana pass out truth literature about the church’s propaganda.
Lana is captured by the brothers and almost killed. A blinding bright light appears
(Sappho’s voice) and admonishes Paul for persecuting lesbians and gays for 1,977 years.
Sappho explains that you must believe in her and fight against patriarchy, to come out, to
be proud, and be gay.
Themes: Lesbianism; Religion and homosexuality
Known performances:
1978
“Homophobia,” by Cherie Gordon, La Marc du Champs, and Matty One Person; revised
play from the 1977 version of “Lesbos to Homophobia”, 1978
Cast of Characters:
St. Paul
Brothers Hippocrates, Testocules, Penocles, and Erectus
Anita Bryant - The Orange Juice Queen and anti-gay activist
Lana Leziana - A lesbian mother
Diana Dykos - A lesbian mother
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Synopsis:
“Homophobia,” a one-act, short and sassy comedy, is a documented account of past and
present herstory turned into hilarity. The plot centers around two lesbian mothers, Lana
Leziana and Diana Dykos, who battle the forces of evil --- St. Paul and Anita Bryant --who are using Christianity to further their careers. St. Paul and Anita plot against the
gays by having Anita raise lots of money while St. Paul scares people with queer fear.
Anita’s pitch is that teachers are presenting themselves as role models for children and
are “recruiting” them for their lifestyle. At a Christian rally, Lana and Diana pass out
literature on the truth about the church. Lana is captured by the Brothers and is almost
killed. A blinding, bright light appears (Sappho’s voice) and admonishes St. Paul for
persecuting lesbians and gays for 1,977 years. Sappho explains that you must believe in
her and fight against patriarchy, and to come out, be proud, and be gay.
Themes: Lesbianism; Religion and homosexuality
Known performances:
Little Theatre, Sacramento City College, Sacramento, California, 14 Apr 1978 (premiere
performance).
Playwright’s Theatre, California State University, Sacramento, California, 21 Apr 1978.
1979
“A Skit,” by Madame Szwambi; play, 1979
Cast of Characters:
Announcer
Amanda Ambivalent - A closeted lesbian who is ambivalent about participating in a gay
pride march
Rita Right-On - An out and in-your-face lesbian
Clarissa - A bar owner
Patti - A feminine lesbian
Synopsis:
Four women meet in a bar to discuss whether or not to participate in Sacramento’s Gay
Pride March and Rally.
This play was born from the divisive factionalism that occurred when organizers of
Sacramento’s first Gay Pride March and Rally attempted to stage a march involving all
sectors of the gay community. This skit satirizes what has now become herstory.
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Themes: Lesbianism; Feminism
Known performances:
Sacramento Gay Pride March and Rally, Jun 1979.
1979
“Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie Gordon; play,
1979
Cast of Characters:
Pat Pitts - U.S. Feminist Marshall and renowned rhetorician
Bett Butch - the feistiest, tiniest, stomping butch dyke this side of the Rio Lez
Mayor Samuel Slime - the meanest, dastardliest villain on the other side of the Rio Lez
Tooloose La Tits - The saloon gal torn between the security of the past and the
uncertainty of the ideological future
Token Straight - Some of her best friends are gay (caricature of Jane Fonda)
Jeritol Judy - The slightly, spritely, senior lezzie, now a retired school teacher
Francesca Foodstampolini - A victim of an insensitive, sexist, racist, ageist, capitalistic
society
Ms. Edna - The talking horse, of course
Synopsis:
“Cowdykes at the Lavender Corral” is a farcical melodrama that satirizes various
stereotypes which abound in the classic and western milieus. The plot is traditionally
melodramatic --- the forces of feminist righteousness versus the evils of opposition. The
play satirizes the Berkeley dyke, the zealot feminist, the bar dyke, and the butch-femme
dichotomy.
It’s 1871 and U.S. Feminist Marshall Pat Pitts is called to Bawdy Badlands, a town on the
California-Nevada border, to rid the town of heterosexual oppression. The town is under
the grip of Mayor Samuel Slime, the local town politician who spares no one the
perversity of his deeds. The local lesbians and a token straight woman, and Marshall
Pitts have differing views on how to handle Slime. In the end, Slime and Pitts center off
on a contest to stump the other on word definitions. Slimes loses the contest and leaves,
and the town is liberated. Social issues of 1978/79 move back and forth through time and
throughout the play very easily. Issues touched upon include feminism, affirmative
action, equal rights, gay rights, ageism, racism, sexism, and class differences
Themes: Lesbianism; Feminism
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Known performances:
Playwright’s Theatre, California State University, Sacramento, 7-8, 14-15 Sep 1979.
Victoria Theatre, San Francisco, California; date unknown but referenced as being
performed before the Live Oak Theatre production.
Live Oak Theatre, Berkeley, California, 21-22, 28-29 Sep 1979.
1980
“Dyke Dianetics,” by Cherie Gordon; play, 1980
Cast of Characters:
Kitty Hawk - Hilda’s disgruntled partner who’s searching for her meaning of life
Hilda - Kitty’s partner who is worried about her behavior
Cultist - A kitty cultist
Mary - Hilda’s friend and confidant
Pasha - Priestess of the Sacred Order of Felix Domesticus
Synopsis:
Hilda and Kitty are partners, and after six years into their relationship, Kitty is totally
bored and wants to search for her meaning of life. To combat her boredom she searches
through the phone book and discovers an organization called The Cult of The Cat --- The
Way of The Karmic Kitty. Intrigued by all the kitty talk on the telephone, Kitty joins the
group and begins an intensive kitty training program. As she progresses in her training
and becomes ‘everything kitty’, her relationship with Hilda deteriorates to the point that
Hilda leaves the unhappy relationship.
Themes: Lesbianism
Known performances:
1980
“Queer Quota,” by La Marc du Champs and Cherie Gordon, play, 1980
Cast of Characters:
Patty Personality - Employment agency office worker
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Lizzie Lez and Barbie Buxom - Two women applying for a position
Peter Bragger - Office manager seeking a new employee
Federal Agency Fairy - A federal Affirmative Action policy enforcer
Synopsis:
In this short political skit set in an office on the corner of 6th and J streets in Sacramento,
Peter Bragger calls an employment agency requesting job applicants for a position in his
office. The two job applicants are Lizzie Lez and Barbie Buxom. Peter Bragger wants to
hire Barbie Buxom because of her unspoken attributes and, besides, she’s a former
Squeezing Queen of Orange County and a life-long member of the Bible Bangers of Buxt
Travel Agents. Lizzie is more qualified but she is an “out” lesbian. A Federal Agency
Fairy advises Bragger to hire Lizzie and warns him that he should start thinking black,
yellow, red, lavender, and, come November 1980, think Brown. Bragger is dismissed
from his position and the government fairy goes about the business of hiring his
replacement --- Jane Fonda --- who has been the victim of persecution herself.
Themes: Lesbianism; Feminism
Known performances:
This play was performed at a march on the Capital, 1980.
1982
“Dykes on Parade,” by Pat Lynch, Cherie Gordon, and Matrisha One Person, revised
play, 1982
Cast of Characters:
Various historical lesbian figures
Various modern day lesbian archetypes
Synopsis:
“Dykes on Parade” is a herstorical lesbian fashion show featuring the costumes worn by
celebrated women throughout herstory and begins with the hypothetical Amazons, moves
to the current day (1982) vogues in lesbian fashion and also attempts to depict the spirit
and style of future fashions with the futuristic Lavender Army. This is all by satire in the
capable hands of Madame Szwambi.
The first half of the show is a stunning succession of remarkable individuals, ranging
from Native American Quaquam to poet Renée Vivien to pirates Anne Bonny and Mary
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Reed to the dignified Ladies of Llanyollen. Colette, Gertrude Stein, Alice B. Toklas,
Radcliffe Hall, and Lady Una Trowbridge are here too.
The second half of the show places emphasis on current archetypes rather than
individuals. There’s the 1950s bar dyke, the 1960s gym teacher, and updated counterculture dyke, the dogma dyke, and the punk dyke. Here also is introduced the fantasy
element with three personifications of negative images by society: the fruit, the fairy, and
the freak. The Lavender Army concludes the show.
Themes: Lesbianism
Known performances:
Live Oak Theatre, Berkeley, CA, 18-19 Jun 1982
Victoria Theatre, San Francisco, CA, 6-7 Aug 1982
Sierra II Center for the Community, 2791 24th St., Sacramento, CA, two weekends in
May 1982 and 20-21 Aug 1982
1985
“Sappha Kahn,” by Madame Szwambi, play, 1985
Cast of Characters:
Mars Shal and Tale Baba - Slaves of Sappha Kahn
Annette Phrophet - Woman indebted to Sappha Kahn
Sappha Kahn - Ruthless businesswoman and patroness of the Small Claims Court
Madame Szwambi - Cosmic Goddess of Goodness and Light
Matti Magi - Servant to Sappha Kahn
Ramba - Female version of Rambo hired to retrieve eight jillion gold drachmas, people,
and a camel
Two Terrorists
Synopsis:
This play is a spoof on Cherie Gordon (a.k.a. Sappha Kahn), the owner of Flash Gordon
Costumes. It is a play to celebrate her successful first five years in business. During the
play, the audience is invited to enjoy Kahn’s hospitality by joining the players in food
and drink on stage.
Mars Shah and Tali Baba have been ordered to meet the mighty Sappha Kahn at a
manger where the Kahn is making her annual pilgrimage to receive the divine blessings
of Madame Szwambi, Goddess of Goodness and Light. Annette Phrophet is hoping that
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Madame Szwambi will help her erase her indebtedness to the Kahn by exposing the
many abominations committed by the Kahn. The Kahn appears and is the personification
of evil --- worshipping only gold and profits. After reading the abominations committed
by the Kahn, Madame Szwambi banishes her to sweatshop hell and restores Annette to
her former status of a free person.
Terrorists suddenly burst onto the scene and seize hostages, taking the gold and the
camel. The Kahn prays for Madame Szwambi to help her rescue her people, the camel,
and to get back the gold The Kahn receives a sign: it’s to call Ramba, a swarthy,
brooding woman to help in the rescue. The gold, the people, and the camel are recovered
and the Kahn has her eyes on the gold, but Mars Shah and Tali Baba intervene. Tali
Baba has been appointed by the Szwambi to look after the books and report all of the
Kahn’s business transactions. And now Madame Szwambi instructs the Kahn that for the
occasions of her fifth year in business, she is to purchase and serve up food and drink to
the masses.
Themes: Business; Lesbianism
Known performances:
This play was performed at Flash Gordon Costumes in Carmichael, California, in
September 1985.
1986
“Wine, Women, and War: A One Act Comedy,” by Madame Szwambi; play,revised
version (1986) of “From Lesbos to Homophobia,” by La Marc du Champs and Cherie
Gordon in 1974
Cast of Characters:
Hippolita - Warrior Queen of the Amazons
Antiope - Servant to Hippolita
Sappho - Poetess of Lesbos
Athena - Goddess of Wisdom
Synopsis:
“Wine, Women, and War: A One Act Comedy” was originally written in 1974 by La
Marc du Champs and Cherie Gordon as the play “From Lesbos to Homophobia”. It was
rewritten in 1986 by Madame Szwambi and performed for the Botticelli Angel Costume
Ball, a costume celebration of the classical woman, and to honor Cherie’s friend who had
died.
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Fighting off an invasion of Spermy Spartans, Hippolita, Queen of the Amazons, seeks
warrior women recruits from Sappho and her island of women, Lesbos. Rough and
tumble and butch, Hippolita isn’t attracted to gentle, feminine Sappho until Athena,
Goddess of Wisdom, intervenes.
Themes: Lesbianism
Known performances:
The Botticelli Angel Costume Ball was held at the Hellenic Community Center, 614
Alhambra Blvd., Sacramento, California, on 10 May 1986 at 8 pm.
1989
“Return of Cowdykes at the Lavender Corral,” by La Marc du Champs and Cherie
Gordon, play, 1989
List of Characters:
Ms. Edna - The talking horse, of course
Pat Pitts - U.S. Feminist Marshall and renowned rhetorician
Bett Butch – The feistiest, tiniest, stomping butch dyke this side of the Rio Lez
Smantha Slime – Villainous vixen of Lavender Gulch
Connie Conher – Dykemaker in the publishing world; publishes newspaper “Mom
Impress Who”
Tooloose La Tits – the Girl with the golden heart and dancing feet
Francesca Fetishini – Formerly Francesca Foodstampolini; a victim of a racist, sexist,
classist society. Today, she’s a yuppie therapist who barely has enough time for her lover
Barracuda Bitch – A lesbian too broken, too burned, too bitter to ever love again
Paula Pony – A slick country western dancer from Merced, California
Token Straight – Some of her best friends are gay
Buttlet Kate – A Country & Western singer of the Luna Saloon
Synopsis:
“Return of Cowdykes at the Lavender Corral” is an action-filled, quick moving, witty trip
through the Old West with its images of bar dykes, a talking horse, a U.S. Feminist
Marshall, and an Italian therapist. It satirizes both the Western dance craze and the
overly serious lesbians in town. The plot is traditionally melodramatic --- the forces of
feminist righteousness versus the evils of political corruption to the tune of
Country/Western twang.
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It’s 1879 in the town of Lavender Gulch on the California-Nevada border. It’s a dry, arid
town that has become the feminist haven for sisters throughout the world. Approximately
ten years have passed since two heroines, Pat Pitts and Ms. Edna, rode into town and
changed the course of herstory. But now Lavender Gulch is a town without sobriety, a
town without consciousness. It groans under the grip of the Country/Western craze, a
ruthless, ensnaring, and addictive pastime that spares no one. Headed by a calloused
politician who long ago decided that Sisterhood Is Not Powerful, it is a town that begs for
deliverance.
Themes: Lesbianism; Feminism
Known performances:
Sierra II Center for the Community Theatre, 2729 24th St., Sacramento, CA, 5-6, 12-13,
and 19-20, 1989.
Tickets, at $8.00 per person, were sold at Flash Gordon Costumes, 4020 California Ave.,
Suite C, Carmichael CA 95608, and at Lioness Books, 2224 J Street, Sacramento CA
95816.
1990
“Perfume Power,” by La Marc du Champs and Cherie Gordon; play, 1990
Cast of Characters:
Polly – A textile factory executive
Ester – Polly’s partner
Rosie Revlon – Polly’s and Ester’s middle-aged friend
Mona Movement – A young “out” lesbian
Synopsis:
It’s the 1990s and it’s Pac-Up Sacto versus Sac-Losers. Closeted “lipstick” lesbian
lovers, Polly and Ester, and their friend Rosie Revlon are meeting in Polly’s and Ester’s
apartment to discuss how “SACLOSE” can participate in the forthcoming gay parade.
All three like the quiet, feminine lesbian lifestyle, hiding behind lipstick and mascara.
The women agree that the sisters can still be lesbians but that they should call themselves
“lebannese” to disguise their orientation. They decide to march in the parade in
cardboard closets. While discussing all this, Mona Movement and her group, PAC-UP
SACTO, march up in front of Polly’s and Ester’s apartment demanding that they come
out of the closet and saying that there is room for all --- butches, femmes, queers,
androgyns, feminists, and the fucked up --- Diversity! Diversity! Diversity! The women
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refuse to “come-out” so Mona sprays their closet with a perfume which allows one to
smell good while making a political statement. It’s a hypnotic scent --- the feel and smell
of a lesbian. Finally, Polly and Ester, and Rosie are “out of the closet”!
Themes: Lesbianism
Known performances:
“Perfume Power” was written in celebration of the Sacramento Lesbian and Gay
Freedom Parade, June 16, 1990.
1992
“Midsummer Dream, or, A Midsummer Dyke’s Dream”, also called “Mdsummer
Dream”; a play in progress with different drafts by Cherie Gordon and by Madame
Szwambi, 1992. It was to be combined into one play but it was never completed.
First and second draft versions by Cherie Gordon
Cast of Characters:
Titania – Personification of Gloria Steinem
Obera – Personification of Betty Friedan
Lovers – Personifications of Billie Jean King, Martina Narvitolova, Rita Mae Brown, and
Robin Morgan
Puck – Personification of Jill Johnston, reporter for the Village Voice
Synopsis:
The plot is one of conflict in the women’s movement of the 1970’s. There are two
camps: one is headed by Titania, (a persona of Gloria Steinem) and the other is headed by
Obera, (a persona of Betty Friedan). Each one of the characters from Shakespeare’s “A
Midsummer Night’s Dream” is similar to a person who was a part of the women’s
movement. For example, the lovers are personified by Billie Jean King, Martina
Narvitolova, Rita Mae Brown, and Robin Morgan. Their conflict is played out on a
tennis court. Puck is personified by Jill Johnston, a reporter for the Village Voice.
Puck’s role is to wreck havoc within the patriarchy and pull mischievous tricks on the
lovers. The basic conflict is about Obera’s intent to keep lesbians out of the women’s
movement. The text is written in rhyme in keeping with Shakespeare’s text. The script
was written in 1992 but the play was never completed.
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First draft version by Madame Szwambi
Cast of Characters:
Phyllatia – Phyllis Schaffley
Sapphobia – Anita Bryant
Sycophantia – A black woman
Witches 1, 2, 3
Synopsis:
Phylattia and Sapphobia are upset with the women’s liberation movement and its stance
against the war, against the military, against patriarchy, and its positive dyke attitudes.
Upon encountering witches in the forest, Sapphobia is appalled at their lesbian behavior.
They invite her to drink the blackened witches’ cup, but she refuses and they ask her to
leave. The text is written in rhyme in keeping with Shakespeare’s text. The script was
written in 1992 but the play was never completed.
Second draft version by Madame Szwambi
Cast of Characters:
Phyllatia – Phyllis Schaffley
Hippocritia – M. Quale
Sycophantia – A black woman
Synopsis:
This draft includes a dialogue between Phyllatia and Hippocritia decrying the women’s
movement and its anti-war stance. The text is written in rhyme in keeping with
Shakespeare’s text. The script was written in 1992 but the play was never completed.
Themes: Lesbianism
Known performances:
None
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APPENDIX B
Non-Le Théâtre Lesbíen material synopses, c. 1970s - c. 1976-77.
Chronicled here are plays, jokes, and fiction manuscripts in the collection that were
written and/or performed by other people or groups, and are not related to Le Théâtre
Lesbíen plays. Plays are arranged chronologically.
c. 1970’s
“Order of Events,” by Unknown Authorship; play, [c. 1970’s]
Cast of Characters:
Artemis – An Amazon
Egeria – Daughter of Diana
Agnes – A woman with a male child
Themis – An Amazon
Tyro – An Amazon
Synopsis:
This play is an Amazon myth of creation in which Druantia, daughter of the Goddess
Taimat, experimented with creation and invented apes, monkeys, and the ultimate
mutation, mankind. Thus, it was Druantia who established the human race. Druantia’s
daughter, Danu, also served humankind, and after a millennium, gave her office to her
daughter, Dio. Yet, is was Diana, daughter of Dione, who broke custom and made
human history: she dared to live with the once forbidden race. In the name of the Moon
Maiden, the women built shrines and cities, and preached the cult. The male of the
species was unsuited for learning and he refused to abandon his animal instincts.
Besides being an Amazon myth story, this play includes dialogue between Artemis,
Egeria, Agnes, Themis, and Tryo as the Amazons prepare for war against the Greeks.
Themes: Lesbianism; Mythology
Known performances:
MS1/CHERIE GORDON COLLECTION
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1970
“The Independent Female, or A Man Has His Pride,” by Joan Holden. Play written for
and performed by the San Francisco Mime Troupe, 1970.
Cast of Characters:
Mom (Matilda) – A homemaker
Gloria - Matilda’s daughter who is engaged to John
John – Gloria’s fiancée and fellow Personnel Office worker
Sarah – Gloria’s fellow office worker and women’s liberationist
Walter – Office Manager and Matilda’s husband and Gloria’s father
Synopsis:
“The Independent Female” was the Troupe’s first production to be written, directed, and
designed by women. The San Francisco Mime Troupe was a self-supporting collectiverun theater company whose aim was to make art serve the people.
Sarah urges Gloria to join her in pursuing an office strike for equal pay and benefits for
women. Gloria is engaged to be married to John who is old-fashioned and thinks a
woman’s place is in the home doing cooking, cleaning, and having and caring of
children.
Themes: Feminism
Known performances:
The play was performed free in the Bay Area parks throughout the summer of 1970,
toured the Midwest and southern California in the winter of 1970-71, and toured the
southeastern United States in the fall of 1971.
1970-71
“Susie Goes to College,” by Unknown Authorship; play, c. 1970-71
Cast of Characters:
Susie Seeker – A college freshman in search of herself
Jack – A walk-on part, can be dressed as a football hero
Professor Norman With-It – A young and debonair man, thinks of himself as an
iconoclast, has little use for women, can be dressed as a puppet
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Professor Gobbledygood – Psychology teacher whose favorite pastime is making the
obvious complex
Professor Ersmartz – Philosophy teacher, exclusively interested in abstract questions,
convinced that his field is value free
Witches – As many as possible, dressed in witch costumes, possibly wearing women’s
symbols
Board of Directors – Two or three male characters --- deans, etc.
Synopsis:
“Susie Goes to College” is a women’s liberation play about women and education. Susie
enters college to find out who she is, but none of the male professors pay her any
attention when she asks questions. Susie joins forces with the witches in bringing about
social change in the school.
Themes: Feminism
Known performances:
1971
“Menstrual Flow Notes,” by Patricia Wallace; jokes, 1971
Synopsis:
One-liner menstrual jokes.
1971
“Alice in Womanland: A Liberation Primer,” by Kathy Vallakas; play, c. 1971
Cast of Characters:
Alice – A girl transitioning from childhood to womanhood
Mistress W. Rabbit – A Wonderland rabbit
Mock Turtle – A Wonderland chauvinist character
Hookah – A Wonderland character who lives on top of a mushroom
Tweedledee and Tweedledum – A man and a woman dressed in clothes of the opposite
sex
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Other Wonderland characters: Queen, Mad Hatter, Doormouse, March Hare, Cheshire
Cat, Dutchess, and Reporter
Synopsis:
Alice doesn’t know it yet, but she’s changed a little. She’s growing up and Wonderland
is growing with her. With the last minutes of her childhood gone, Wonderland has gone
with them. Just as Alice is no longer the same sweet child, Wonderland is no longer the
same innocent fantasy. Alice doesn’t know it yet, but the hole she just stepped through
has not thrown her into the delightful dreams of yesterday, but the harsh realities of
today. Alice has just stepped into womanhood and is about to have every woman’s
nightmare. Through the help of W. Rabbit, Mock Turtle, Hookah, Tweedledee and
Tweedledum, Mad Hatter, March Hare, Doormouse, and Cheshire Cat, as well as the
dutchess and the Queen, Alice confronts her own confusions of a woman’s role in society
and emerges as a feminist.
Themes: Feminism
Known performances:
1971
“Anniversary: A Play in Two Acts,” by Cay Thretheway and Linda Tretheway; play,
c.1971
Cast of characters:
Liz – Sara’s younger sister, early twenties
Jan – Sara’s partner, early thirties
Sara – Jan’s partner of ten years, late twenties
Faye – Doris’ “butch” partner of 17 years, late fifties
Doris – Faye’s “femme” partner, early fifties
Kathy – Chris’ partner of 13 months, mid-twenties
Chris – Kathy’s partner, mid-twenties
Pat – Jan’s former lover, early thirties
Synopsis:
A lesbian couple, Jan and Sara, Sara’s younger sister Liz, Jan’s ex-lover Pat, and two
other couples, Faye and Doris, and Kathy and Chris, go on a weekend camping trip to
celebrate Jan’s and Sara’s tenth anniversary together. Areas explored are interpersonal
relationships, how people change over time, and the meaning of relationships and how
they change over time.
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Themes: Interpersonal relationships; Lesbian couples
Known performances:
A group of local women in Davis performed this play in Davis, California. They did not
have a name, and the play was produced independently.
1971
“Pierrot le Coiffeur: Pantomine of Gaspard and Charles Deburau”; set down by Emile
Coby; translated by Mark V. Rose; pantomime, 1971
Cast of Characters:
Harlequin – A young man in love with Colombine
Pierrot – A scheming gentleman looking for Colombine’s hand in marriage
Colombine – A young woman in love with Harlequin
Cassander – Father of Colombine
Synopsis:
In this pantomime scenario, Harlequin loves Colombine and she loves him, but Pierrot
also loves Colombine. Cassander, Colombine’s father, does not like Harlequin and
betroths Colombine to Pierrot. Cassander orders Pierrot to shoot Harlequin, which he
does. Cassander then fetches Colombine to marry Pierrot. At that very moment,
Harlequin revives himself, bounds up, and throws Cassander and Pierrot aside. Finally,
Cassander consents to bless Harlequin and Colombine in marriage.
Themes: Love; Marriage
Known performances:
This pantomime was first performed at the Sacramento Regional Arts Festival on
Saturday, October 2, 1971.
1974
“Christabel in Paris,” by The Shameless Hussies; play, 1974
Cast of Characters:
Christabel Pankhurst – An English suffragette in temporary exile in Paris, early 1900s
MS1/CHERIE GORDON COLLECTION
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Gertrude Stein – An American writer living in Paris
Alice B. Toklas – Gertrude Stein’s partner and also a writer
Radclyffe Hall – An English writer in Paris
Lady Una Troubridge – An English writer in Paris
Synopsis:
The Shameless Hussies was an Australian lesbian singing group.
English suffragette Christabel Pankhurst, a temporary political exile, is sent to Paris by
her friend Ethel Smythe to visit Radclyffe Hall, Una Troubridge, Alice B. Toklas, and
Gertrude Stein to learn dyke attitudes.
Themes: Lesbianism
Known performances:
1976
“Laredo,” by Pat Lynch; incomplete play, c. 1976
Cast of Characters:
Pop Klondike – Owner of the saloon
Tokeninjun – A savage and bearer of bad news; has a sharp, twisted tongue
Johnny Reb – Son of the Confederacy and protector of the honor of women everywhere
Rastus – Johnny Reb’s personal servant
Belle – The town whore
Clem the Sodbuster – A slow talking townsman lynched by the townsfolk; brother of
Jesse the Kid
Lonefinger – The most pompous, platitudinous hero in the entire frontier
Vera – A townswoman
Jesse the Kid – Outlaw
Miss Mavis – A feminist townswoman
Synopsis:
It’s Laredo shortly after the Civil War. The citizens of Laredo are threatened by the
impending arrival of Jesse the Kid and “his” outlaw gang as foretold by Tokeninjun.
They are coming for Clem the Sodbuster. Believing they can save themselves from being
slaughtered, the townsfolk hang Clem only to discover later that he was Jesse the Kid’s
brother. Jesse and gang arrive in Laredo and there is an ensuing gun battle wherein the
townsfolk are sorely defeated and suffer heavy losses of life. Jesse the Kid reveals
MS1/CHERIE GORDON COLLECTION
Page 54
himself to be a woman, jails the remaining townsmen, and liberates the women. A new
lifestyle comes to Laredo.
Themes: Feminism
Known performances:
1976-77
“Loretto,” by Pat Lynch; partial fiction manuscript, c. 1976-77
Synopsis:
Twenty-nine young ladies in a Catholic school question church teachings about their
roles as women.
Themes: Feminism
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APPENDIX C
Mounted and Unmounted Advertising Posters and Oversize Negatives,
Flat File Boxes 1-2
Number
Item
Location
MS1/A-1
“Dykes on Parade,” presented by Le Théâtre Lesbíen,
Playwrights Theatre, CSUS, Sacramento, 6 June [1976];
mounted poster 8 x 12 inches laminated on board 14 x 10
inches
FFB-1
MS1/A-2
“Dykes on Parade,” presented by Le Théâtre Lesbíen.
Sierra II Center for the Community, Sacramento, 20-21
Aug [1976]; mounted poster, 11 x 17 inches
FFB-1
MS1/A-3
“The Frog,” presented by Le Théâtre Lesbíen,
Playwrights Theatre, CSUS, Sacramento, 16-17 April
and 21-22 May [1977]; mounted poster, 11 x 17 inches
FFB-1
MS1/A-4
“Homophobia,” presented by Le Théâtre Lesbíen,
FFB-1
Playwright’s Theatre, CSUS, Sacramento, 21 Apr [1978];
mounted poster, 10 x 16 inches
MS1/A-5
“Cowdykes at the Lavender Corral,” presented by Le
FFB-1
Théâtre Lesbíen, Playwrights Theatre, CSUS, Sacramento,
7-8 and 14-15 Sep [1979]; mounted poster, 11 x 17 inches
MS1/A-6
The Botticelli Angel Costume Ball,” 10 May 1986.
FFB-1
“Wine Women, and War,” presented by Le Theatre Lesbien,
Hellenic Community Center, Sacramento; 10 May 1986,
mounted poster, 16 x 10 ¼ inches
MS1/A-7
“Return of Cowdykes at the Lavender Corral,” presented
by Le Théâtre Lesbíen, Sierra II Center for the
Community, Sacramento, 5-6, 12-13, 19-20 May [1989];
mounted poster, 11 x 17 inches
FFB-1
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MS1/A-8
“A Midsummer Night’s Dream, by William Shakespeare,” FFB-1
on Strauss Island, Elk Grove Park, presented by the Elk
Grove Theatre Company, 24-27 May and 7-9 June
[c. 1992]; mounted poster, 11 x 17 inches
MS1/A-9
Le Théâtre Lesbíen; color display logo on poster board,
unmounted, 13 x 11 inches, [c. 1974]
FFB-2
MS1/A-10
“Dykes on Parade,” presented by Le Théâtre Lesbíen,
Student Lounge, Sacramento City College, Sacramento,
30-31 Oct [1976]; unmounted poster, 11 x 16 inches
FFB-2
MS1/A-11
“The Frog,” presented by Le Théâtre Lesbíen,
Playwrights Theatre, CSUS, Sacramento, 21-22 May
[1977]; unmounted poster with black ink, 11 x 17 inches
FFB-2
MS1/A-12
“The Frog,” presented by Le Théâtre Lesbíen
Playwright’s Theatre, CSUS, Sacramento, 21-22 May
[1977]; unmounted poster with green ink, 11 x 17 inches
FFB-2
MS1/A-13
“The Frog,” presented by Le Théâtre Lesbíen, Live Oak
Theatre, Berkeley, 10-11 June [1977], unmounted poster,
11 x 17 inches
FFB-2
MS1/A-14
“Homophobia,” presented by Le Théâtre Lesbíen,
FFB-2
Sacramento City College, 14 Apr [1978] and Playwright’s
Theatre, CSUS, Sacramento, 21 Apr [1978]; unmounted
poster, 10 x 16 inches
MS1/A-15
“Cowdykes at the Lavender Corral,” presented by Le
FFB-2
Théâtre Lesbíen, Playwrights Theatre, CSUS, Sacramento,
7-8, 14-15 Sep [1979]; unmounted poster, 11 x 17 inches
MS1/A-16
“Cowdykes at the Lavender Corral,” presented by Le
Théâtre Lesbíen, Live Oak Theatre, Berkeley, 21-22,
28-29 Sept [1979]; unmounted poster, 11 x 17 inches
FFB-2
MS1/A-17
“Dykes on Parade,” presented by Le Théâtre Lesbíen,
Sierra II Center for the Community, Sacramento, 20-21
Aug [1982]; unmounted poster, 11 x 17 ½ inches
FFB-2
MS1/A-18
“The Botticelli Angel Costume Ball,” 10 May 1986.
“Wine, Women, and War,” presented by Le Théâtre
MS1/CHERIE GORDON COLLECTION
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FFB-2
Lesbíen, Hellenic Community Center; [Sacramento]
unmounted Poster, 16 x 11 inches
MS1/A-19
“Return of Cowdykes at the Lavender Corral,”
presented by Le Théâtre Lesbíen, Sierra II Center for the
Community, Sacramento, 5-6, 12-13, 19-20 May [1989];
unmounted poster, 11 x 17 inches
FFB-2
MS1/A-20
“A History of Lesbian Bars in Sacramento,” a history for
the “OFF KEY” Reunion in West Sacramento; [18 Dec
1994], unmounted poster, 11 x 14 inches
FFB-2
MS1/A-21
“The Botticelli Angel Costume Ball,” poster and partial
program paste-ups; 10 May 1986, 2 sheets, each 11 x 17
inches
FFB-2
MS1/N-1
“The Botticelli Angel Costume Ball,” 10 May 1986;
negative of program cover art design: 3 images one
negative. (Oversize negative)
FFB-2
MS1/N-2
“The Botticelli Angel Costume Ball,” 10 May 1986;
ball announcement sheet: 4 announcements on one
negative. (Oversize negative)
FFB-2
MS1/N-3
“The Botticelli Angel Costume Ball,” 10 May 1986;
negative of advertisements: (lower right corner cut out).
(Oversize negative)
FFB-2
MS1/N-4
“The Botticelli Angel Costume Ball,” 10 May 1986;
negative of advertisements, begins with ad “Nightsongs”,
(corner intact, plus some negative image damage).
(Oversize negative)
FFB-2
MS1/N-5
“The Botticelli Angel Costume Ball,” 10 May 1986;
negative of advertisements, begins with ad “Threadbare”.
(Oversize negative)
FFB-1
MS1/N-6
“The Botticelli Angel Costume Ball,” 10 May 1986;
negative image for full-size, complete poster.
(Oversize negative)
FFB-1
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APPENDIX D
Photographs, c. early 1970’s - 1989
Listed below are photographs that are found in two photographic and scrapbook albums,
and also photographs found in loose format.
Those photographs, letters, and newspaper clippings found in the albums/scrapbooks are
permanently mounted on boards containing formaldehyde (a permanent bonding agent)
and cannot be removed from the boards. To remove these items would result in their
possible destruction.
White Photograph and Scrapbook Album, c. 1971-1979. Includes photographs;
correspondence and newspaper clippings surrounding the controversy of presenting
“Dykes on Parade” (1976) at Sacramento City College; and newspaper clippings of play
announcements and reviews for “Dykes on Parade” (1976), “The Frog” (1977),
“Homophobia” (1978), and “Cowdykes at the Lavender Corral” (1979). Photocopies of
the photographs are listed below and can be found in the folders indicated that are housed
in the Manuscripts Photograph Collections File. Each photocopy includes identification
information on its verso, as well as location of the actual photograph. The photocopies
are arranged in the same order as the photographs as they appear in the White Photograph
and Scrapbook Album.
Photo Nos.
Description
Folder
MS1/P1 & P2
Biography – Wallace, Patricia and Gordon, Cherie,
c.1971 & 1974
(2 photos, p. 1, White Album, stored in Oversize
1
Storage Box 2)
MS1/P3
Plays -- “The Homobrontosaurus,” 1972
(1 photo, p. 3, White Album, stored in Oversize
Storage Box 2)
2
MS1/P4
Plays -- “Dykes on the High Seas,” 1972
(1 photo, p. 5, White Album, stored in Oversize
Storage Box 2)
3
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MS1/P5
Plays -- “Robin Screw,” 1973
(1 photo, p. 6, White Album, stored in Oversize
Storage Box 2)
4
MS1/P6
Plays -- “The Psychoanalysis of Edward the Dyke,” 1973
(1 photo, p. 7, White Album, stored in Oversize
Storage Box 2)
5
MS1/P7
Plays -- “Dragnet,” 1974
(1 photo, p. 8, White Album, stored in Oversize
Storage Box 2)
6
MS1/P8 - P10
Plays -- “Dykes on Parade,” 1976
(3 photos, pp. 9-11, White Album, stored in Oversize
Storage Box 2)
7
MS1/P11 - P12
Plays -- “The Frog,” 1977
(2 photos, pp. 19-20, White Album, stored in Oversize
Storage Box 2)
8
MS1/P13 - P14
Plays -- “Draghet,” 1977
(2 photos, pp. 27-28, White Album, stored in Oversize
Storage Box 2)
9
MS1/P15 - P17
Plays -- “Homophobia,” 1978
(3 photos, pp. 29-31, White Album, stored in Oversize
Storage Box 2)
10
Red Photograph and Scrapbook Album, 1979-1982. Includes photographs and
newspaper clippings of play announcements and reviews for “Cowdykes at the Lavender
Corral” (1979), San Francisco Gay Pride Parade (1977), “Draghet” (1977), and “Dykes
on Parade” (1982). Photocopies of the photographs are listed below and can be found in
the folders indicated that are housed in the Manuscripts Photograph Collections File.
Each photocopy includes identification information on its verso, as well as location of the
actual photograph. The photocopies are arranged in the same order as the photographs as
they appear in the Red Photograph and Scrapbook Album.
Photo Nos.
Description
Folder
MS1/P18 - P22
Plays -- “Cowdykes at the Lavender Corral,” 1979
(5 photos, pp. 3-7, Red Album, stored in Oversize
11
MS1/CHERIE GORDON COLLECTION
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Storage Box 2)
MS1/P23 - P24
Parades --San Francisco Gay Pride Parade, 1977
(2 photos, pp. 8-9, Red Album, stored in Oversize
Storage Box 2)
12
MS1/P25 - P28
Plays -- “Draghet,” 1977
(4 photos on p. 10, Red Album, stored in Oversize
Storage Box 2)
13
MS1/P29 - P32
Plays -- “Dykes on Parade,” 1982
(4 photos, pp. 11-14, Red Album, stored in Oversize
Storage Box 2)
14
MS1/P33 - P36
Plays -- “Dykes on Parade,” 1982
(4 photos, pp. 28-31, Red Album, stored in Oversize
Storage Box 2)
14
MS1/P37 - P38
Plays -- “A Skit,” 1979
(2 photos, pp. 32-33, Red Album, stored in Oversize
Storage Box 2)
15
Loose Photographs, c. early 1970’s-1989. The loose photographs that follow cover a
variety of subjects and are listed alphabetically. These photographs are housed in the
Manuscripts Photograph Collection File. There is no MS1/P54 photo.
MS1/P39 - P43
Biography – Gordon, Cherie
(5 photos)
16
MS1/P44 - P46
Plays -- “Cowdykes at the Lavender Corral,” 1979
(3 photos)
17
MS1/P47 - P50
Plays -- “Dykes on Parade,” 1982
(4 photos)
18
MS1/P51 - P52
Plays --“The Frog,” 1977
(2 photos)
19
MS1/P53
Bars -- OFF KEY Bar, c. early 1970’s
(1 photo)
20
MS1/CHERIE GORDON COLLECTION
Page 61
MS1/P55 - P63
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (9 photos)
21
MS1/P64 - P73
Plays --“Return of Cowdykes at the Lavender Corral,”
1989 (10 photos)
22
MS1/P74 - P81
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (8 photos)
23
MS1/P82 - P91
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (10 photos)
24
MS1/P92 - P103
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (12 photos)
25
MS1/P104 - P115
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (12 photos)
26
MS1/P116 - P127
Plays --“Return of Cowdykes at the Lavender Corral,”
1989 (12 photos)
27
MS1/P128 - P139
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (12 photos)
28
MS1/P140 - P151
Plays -- “Return of Cowdykes at the Lavender Corral,”
1989 (12 photos)
29
MS1/P152 - P159
Plays --“Return of Cowdykes at the Lavender Corral,”
1989 (8 photos)
30
MS1/P160 - P161
Bands (Music) -- Tommie (Women’s Rock Band)
(2 photos)
31
MS1/CHERIE GORDON COLLECTION
Page 62
APPENDIX E
Slides, c.1972-1989
Slides include plays of Le Théâtre Lesbíen; a Daughters of Sappho Celebration; a class
film project, “Out of the Closet,” by Cherie Gordon; and a master’s thesis film project,
“We’re Everywhere,” by Cherie Gordon. The slides are filed in the Manuscripts
Photograph Collections File after the photographs in this collection and are arranged
alphabetically.
Number
Slides
Slide
Folder
MS1/S01
Plays -- “Cowdykes at the Lavender Corral,” 1979
(147 slides in 3 folders)
(Folder 1, 3 sheets: Slides MS1/S01-01 through MS1/S01-57)
(Folder 2, 3 sheets: Slides MS1/S01-58 through MS1/S01-114)
(Folder 3, 2 sheets: Slides MS1/S01-115 through MS1/S01-149
1-3
MS1/S02
Parties -- Daughters of Sappho Celebration, 1974
(2 slides)
(Folder 4, 1 sheet: Slides MS1/S02-01 and MS1/S02-02)
4
MS1/S03
Plays -- “Dragnet,” c. 1972
(14 slides)
(Folder 5, 1 sheet: MS1/S03-01 through MS1/S03-14)
(Slides are of Patricia Wallace and Edgar Carpenter)
5
MS1/S04
Plays --“Dragnet,” 1974
6
1
2
3
(18 slides)
(Folder 6, 1 sheet: Slides MS1/S04-01 through MS1/S04-18)
MS1/S05
Plays -- “Dykes on Parade,” at the Playwright’s Theatre, CSUS,
1976 (10 slides)
(Folder 7, 1 sheet: Slides MS1/S05-01 through MS1/S05-10)
7
MS1/S06
Plays --“Dykes on Parade,” 1976
(119 slides in 2 folders)
(Folder 8, 3 sheets: Slides MS1/S06-01 through MS1/S06-57)
MS1/CHERIE GORDON COLLECTION
Page 63
8-9
(Folder 9, 4 sheets: Slides MS1/S06-58 through MS1/S06-122)
9
Plays – “Dykes on Parade,” 1982
(177 slides in 3 folders (7 slides not included))
(Folder 10, 3 sheets: Slides MS1/S07-01 through MS1/S07-57
(Slides #13, 34, 40 are not included in collection)
(Folder 11, 3 sheets: Slides MS1/S07-58 through MS1/S07-114)
(Slides #76, 78, 79, 83 are not included in collection)
(Folder 12, 4 sheets: Slides MS1/S07-115 through MS1/S07-183)
10-12
MS1/S08
Plays --“Dykes on the High Seas,” 1972
(39 slides)
(Folder 13, 3 sheets: Slides MS1/S08-01 through MS1/S08-39
13
MS1/S09
Plays -- “The Homobrontosaurus,” 1972
(11 slides)
(Folder 14, 1 sheet: Slides MS1/S09-01 through MS1/S09-11)
14
MS1/S10
Plays --“Homophobia,” 1978
(74 slides)
(Folder 15, 4 sheets: Slides MS1/S10-01 through MS1/S10-74)
15
MS1/S11
Plays --“The Psychoanalysis of Edward the Dyke,” 1973
(9 slides)
(Folder 16, 1 sheet: Slides MS1/S11-01 through MS1/S11-09)
16
MS1/S12
Plays -- “The Psychoanalysis of Edward the Dyke” at the
OFF KEY Reunion, 18 Dec 1994
(14 slides)
(Folder 17, 1 sheet: Slides MS1/S12-01 through MS1/S12-14)
17
MS1/S13
Plays -- “Robin Screw,” 1973
(30 slides)
18
MS1/S07
8
10
11
12
(Folder 18, 2 sheets: Slides MS1/S13-01 through MS1/S13-30)
MS1/S14
Plays – “Return of Cowdykes at the Lavender Corral,” 1989
(30 slides)
(Folder 19, 2 sheets: Slides MS1/S14-01 through MS1/S14-30)
19
MS1/S15
Plays -- “Wine, Women, and War,” at the Botticelli Angel
Costume Ball, 10 May 1986
(16 slides)
(Folder 20, 1 sheet: MS1/S15-01 through MS1/S15-16)
20
MS1/CHERIE GORDON COLLECTION
Page 64
MS1/S16
Films -- “Out of the Closet,” 1973
(12 slides)
(Folder 21, 1 sheet: Slides MS1/S16-01 through MS1/S16-12
21
MS1/S17
Films -- “We’re Everywhere,” Dec 1973
(16 slides)
(Folder 22, 1 sheet: Slides MS1/S17-01 through MS1/S16-16)
22
MS1/S18
Films -- “We’re Everywhere,” Australian Women, Jul 1975
(22 slides)
(Folder 23, 2 sheets: Slides MS1/S18-01 through MS1/18-22
23
MS1/S19
Films -- “We’re Everywhere,” Gay Liberation Picnic, Melbourne, 24
Australia, Sep 1975
(20 slides)
(Folder 24, 2 sheets: Slides MS1/S19-01 through MS1/19-22;
(Slides # 17, 18 are not included in the collection)
MS1/CHERIE GORDON COLLECTION
Page 65
APPENDIX F
Audio Cassettes, 1982-1994, arranged by production as listed below. All audio cassettes
are cased, arranged according to the plays as listed below, and stored in Oversize Storage
Box 1
Number
Cassette
Location
Audio cassettes used for “Return of Cowdykes at the Lavender Corral,” 1989
MS1/C1
Introduction music and narration
MS1/C2
Train entering
MS1/C3
Train: Chu Ginla
MS1/C4
Horse clopping
MS1/C4A
“Livin’ in These Tryin’ Times”
MS1/C5
“Hang the Moon Tonight”
MS1/C6 + 8A “Perfect Strangers,” by Deep Purple (Tush Push) dance step
MS1/C7
“She Just Started Liking Cheating Songs,” by Alan Jackson
MS1/C8
“Stand by Your Man,” by Tammy Wynette
MS1/C8A
“Stand by Your Man,” by Tammy Wynette
MS1/C6A
“Girls Night Out”
MS1/C9
“Too Many Lovers, Not Enough Love”
MS1/C10
“Villain” to “Tear in My Beer,” by Hank Williams
MS1/C11
“That’s Amore,” by Dean Martin
MS1/C12
“Crazy,” by Patsy Cline
MS1/CHERIE GORDON COLLECTION
Page 66
MS1/C13
Villain music to “Panic is On”
MS1/C14
(Not in Collection)
MS1/C15
“Happy, Happy Birthday”
MS1/C16
“You Just Got Your Heart Broke”
MS1/C17
“Long Shot”
MS1/C18
“I’m Just a New Fool”
MS1/C19
Villain Music on to Campaign Music
MS1/C20
“Just say “Yes””
MS1/C21
(Not in Collection)
MS1/C22
“Have I Got a Deal for You,” by Reba McEntire
MS1/C23
“Tonight We Ride,” by The Tumbleweeds
MS1/C24
“Happy Trails to You,” by Dale Evans and Roy Rogers
MS1/C25
“Orange Blossom Special,” “Stand by Your Man,” “Happy Birthday
Baby,” “There’s Tear in My Beer”
Cassettes used for “Dykes on Parade,” edited soundtrack, 1982
MS1/C26A
“Dykes on Parade” Cassette 1
MS1/C26B
“Dykes on Parade” Cassette 2
MS1/C26C
“Dykes on Parade” Cassette 3
Cassettes used for “The Psychoanalysis of Edward the Dyke” at the OFF KEY Reunion,
18 Dec 1994
MS1/C27
Marc’s songs for The OFF KEY Reunion, 18 Dec 1994
MS1/CHERIE GORDON COLLECTION
Page 67
APPENDIX G
Films and Soundtracks, 1972-1985
Arranged alphabetically in Oversize Storage Boxes 1 and 2
Number
Film
Location
MS1/F1
“Lesbian Colloquium,” by Cherie Gordon; videotape, color.
Features Rita Mae Brown, Pat Parker, Judy Grahn, Dale
Martin, Phyllis Lyon, and Sally Gearhart, and the play,
“The Homobrontosaurus”, at CSUS, 8 Dec 1972
OSB-1
MS1/F2
“Lesbian Colloquium,” by Cherie Gordon; videocassette, color,
copy, featuring Rita Mae Brown, Pat Parker, Judy Grahn, Dale
Martin, Phyllis Lyon, and Sally Gearhart, and the play,
“The Homobrontosaurus”, at CSUS, 8 Dec 1972
OSB-1
MS1/F3
[“Out of the Closet,” by Cherie Gordon]; film, Super 8, color,
master copy. Written, directed, and filmed by Cherie Gordon
for a film class at CSUS, [1972]
OSB-1
MS1/F4
[“Out of the Closet,” by Cherie Gordon]; film, Super 8, color,
copy. Written, directed, and filmed by Cherie Gordon for a
film class at CSUS, [1972]
OSB-1
MS1/F5
[“We’re Everywhere: Film Cuts of Barb and Sadie,” by Cherie
Gordon]; film, Super 8, color. Part of Master’s thesis project at
CSUS, [1973]
OSB-1
MS1/F6
[“We’re Everywhere: Film Cuts of Jan and Terry,” by Cherie
Gordon]; film, Super 8, color. Part of Master’s thesis project at
CSUS, [1974]
OSB-1
MS1/F7
[“We’re Everywhere: Uncut Film Cuts of Nude Scenes,” by
Cherie Gordon]; film, 16 mm, color. Part of Master’s thesis
project at CSUS, [Jan 1973]
OSB-1
MS1/F8
[“We’re Everywhere,” by Cherie Gordon]; film, Super 8, color.
Unfinished master copy for Master’s thesis project at CSUS,
MS1/CHERIE GORDON COLLECTION
Page 68
OSB-1
[1973]
MS1/F9
[“We’re Everywhere: Film Clips,” by Cherie Gordon; films,
OSB-2
Super 8, color. Film Clips for Master’s thesis project at CSUS,
[1973-75]. Film is stored in one box in Oversize Storage Box 2.
-1.
-2.
-3.
-4.
-5.
-6.
-7.
-8.
-9.
-10.
-11.
-12.
-13.
-14.
-15.
-16.
-17.
-18.
-19.
-20.
-21.
-22.
-23.
-24.
-25.
Annie and S&M, [Melbourne, Australia, 1975]
Annie / Predator, [Melbourne, Australia, 1975]
Bar Scene, [probably the Bacchanal Bar, Albany, CA, 1974]
Barb --- neg.
Barb and Sadie
-------- Beach
Black tape
Black tape
Cherie / Amy, and Jackie
Cherie, [Matty One Person’s film, c.1973-74]
College class --Frankie, [portrayed lesbian scientist; filmed at lab classroom
at CSUS, 1974]
Georgia and Nancy II, [Australia, 1975]
Georgia and Nancy II, [Australia, 1975]
Georgia at beach, [Australia, 1975]
Jan Chapman and Terry Carr / Silhouette shots, [Berkeley,
CA, 1974]
Jan Chapman, [Berkeley, CA, 1974]
Janine and Destiny, [Melbourne, Australia, 1975]
Jenny ----- , [Melbourne, Australia, 1975]
Jo and Marty at Ancilhoff Park
Jo and Marty
Judy
Judy
Judy - Interview
Judy and Dee Dee
-26.
-27.
-28.
-29.
-30.
-31.
-33.
Kathy and ----Marty and Jo
Party film of silhouette drinkers /readers – Helen and Randy,
[probably at the Bacchanal, Albany, CA, 1974]
SueHanse and Ann Perry, [Sacramento, CA, 1974]
Sue Hansen, [Sacramento, CA, 1974]
Terry Carr and Jan Chapman, [Berkeley, CA, 1974]
Terry and Jan at beach, [1974]
MS1/CHERIE GORDON COLLECTION
Page 69
-34.
-35.
-36.
-37.
-38.
-39.
-40.
-41.
-42.
-43.
-44.
-45.
Tova
Terry Carr and (Jan Chapman or Sue Hansen), [1974]
V.N.W. – Women’s class
Women’s dance
Unknown
Unknown
Unknown
Unknown
Unknown
Unknown (Super 8 Cartridge)
Carolyn Wilson, Toy Soldier (Super 8 cartridge)
Unknown (Super 8 cartridge)
Number
Soundtrack
Location
MS1/ST1
[“Cowdykes at the Lavender Corral”]; reel-to-reel
soundtrack, [1979]
OSB-1
MS1-ST2
[“Dykes on Parade”]; reel-to-reel soundtrack, includes
song, “The Party is Over”, 1982
OSB-1
MS1/ST3
“Dykes on Parade”; reel-to-reel soundtrack, damaged
work tape. Includes song “Gay Parisienne, [1982]
OSB-1
MS1/ST4
[“Dykes on Parade”]; unedited reel-to-reel soundtrack,
copy of “Dykes on Parade” and work tape of different
music, 1982
OSB-1
MS1/ST5
[“Dykes on Parade”]; reel-to-reel soundtrack work tape
of cuts 1 through 6, unedited, [1982]
OSB-1
MS1/ST6
“Dykes on Parade”; reel-to-reel soundtrack, edited
master, [1982]
OSB-1
MS1/ST7
[“The Frog”]; reel-to-reel soundtrack, master tape 1,
[1977]
OSB-1
MS1/ST8
[“The Frog”]; reel-to-reel soundtrack, master copy 2,
[1977]
OSB-1
MS1/ST9
“From Lesbos to Homophobia”; reel-to-reel soundtrack,
[1977]
OSB-1
MS1/CHERIE GORDON COLLECTION
Page 70
MS1/ST10
[“Out of the Closet”]; Super 8 soundtrack, film class
project at CSUS, [1972]
OSB-1
MS1/ST11
[“Sappha Kahn: Opening Piano Music”]; reel-to-reel
soundtrack, [1985]
OSB-1
MS1/ST12
[“We’re Everywhere: Liz Cook’s “Don’t Be Afraid””]
reel-to-reel soundtrack, part of Cherie Gordon’s
Master’s thesis project at CSUS, [1973]
OSB-1
MS1/ST13
[“We’re Everywhere,” by Cherie Gordon]; reel-to-reel
soundtrack for Master’s thesis project at CSUS, [1973]
OSB-1
MS1/CHERIE GORDON COLLECTION
Page 71
APPENDIX H
Memorabilia, 1979-1989
Materials are housed in Storage and Flat File Box 2.
Number
Item
Location
MS1/M1
Ms. Edna, the talking horse, from “Cowdykes at the
Storage
Lavender Corral,” 1979, and “Return of Cowdykes at
the Lavender Corral,” 1989; papier-mâché head and purple
costume designed by Judith Rogers, in glass case,
L 24 ½ inches x W 23 inches x H 56 ½ inches
MS1/M2
Five (5) women’s T-shirts with logo “Dykes on Parade”,
[1982]
FFB-2
MS1/M3
Amazon Costume, from “Dykes on Parade,” 1982.
Costume designed by Judith Rogers, in glass case,
L 24 ½ inches x W 23 inches 2 H 56 ½ inches
Storage
MS1/CHERIE GORDON COLLECTION
Page 72
Index to Le Théâtre Lesbíen Plays
Cowdykes at the Lavender Corral, 1:38-40
Draghet, 1:24-26
Dragnet, 1:5, 1:10
Dyke Dianetics, 2:10
Dykes on Parade (1982), 2:14
The Frog, 1-27
From Lesbos to Homophobia: From Joyful Lesbian Expression to Sorrowful Oppression,
1:33-34
From Lesbos to Homophobia: Three Eras of Lesbian Oppression, 1:11-12
The Homobrontosaurus, 1:2
Homophobia, 1:36, 1:46
Midsummer Dream, 3:7-10
Perfume Power, 3:6
The Psychoanalysis of Edward the Dyke, 1:6
Queer Quota, 2:11-13
Return of Cowdykes at Lavender Corral, 2:41-42
Robin Screw, 1:1-2, 1:7-9
Sappha Kahn, 2:27
A Skit, 1:41-45
The Victorian Affair, or, Prince Albert’s Last Fuck, 1:3-4
Wine, Women, and War: A One Act Comedy, 1:35, 2:29-30
Index to non-Le Théâtre Lesbíen plays and fiction
Alice in Womanland, 3:15-16
Anniversary: A Play in Two Acts, 3:17
Cristabel in Paris, 3:19-20
Gertrude, Alice, Radclyfe, Una in Paris, 5:27
The Independent Female, 3:12
Laredo, 3:21
Loretto (fiction), 3:22
Order of Events, 3:11
Pierrot le Coiffeur, 3:18
Susie Goes to College, 3:13
MS1/CHERIE GORDON COLLECTION
Page 73
Index is to inclusive folders on plays and other subjects not covered in above indexes, or
in addition to the above indexes.
The Botticelli Angel Costume Ball, 2:29-40; 4:12
Cowdykes at the Lavender Corral, 1:38-40, 1:46-2:9, 3:44-45
Dykes on Parade (1976), 1:13-23, 3:29-31, 3:34-35
Dykes on Parade (1982), 2:14-26, 4:5-8, 5-28-32
Dykes on Parade (1986 proposed), 4:11
Flash Gordon Costumes, 4:7, 5:8, 5:18-19
The Frog, 1:27-32
History of Lesiban Bars in Sacramento, 4:40-41
The Homobrontosarus, 3:26
Homophobia, 3:38-39
The OFF KEY Reunion, 4:35-42
Return of Cowdykes at the Lavender Corral, 2:41-3:5, 4:22-23
Sound recordings, 4:15-17
Le Théâtre Lesbíen, 3:27-29, 3:33-34, 3:36, 3:40-44, 4:2, 4:6, 4:8, 4:11-12, 4:20-23,
4:25-29, 4:32-34
Tommie (Women’s Rock Band), 4:13
Videocassette, “Love and Anarchy, Part II”, 5:13
Wine, Women, and War, 1:35, 2:28-31; 5-33
Name Index
Edgar Carpenter, 1:5, 1:10
Sue Cugini, 1:5, 1:10, 1:24-26
La Marc du Champs, 1:33-36, 1:38-40, 1:46, 1:49-50, 2:11-13, 2:29-30, 2:41-42, 3:6
Suzanne du Champs, 1:11-12
Chris Farley, 1:11-12
Cherie Gordon, 1:1-12, 1:24-26, 1:33-36, 1:38-40, 1:46, 1:49-50, 2:10-14, 2:29-30
2:41-42, 3:6-8, 5:1, 5:4, 5:5, 5:7, 5:15-16, 5:22-23
Pat Lynch, 3:21-24
Matrisha One Person, 2:14
Matty One Person, 1:5, 1:10, 1:33-34, 1:36
Patricia One Person, 1:6-9, 1:11-12
Madame Szwambi, 1:27, 1:41-45, 2:27, 2:29-30, 3:9-10, 5:13
Patricia Wallace, 1:1-4, 3:14
MS1/CHERIE GORDON COLLECTION
Page 74
Performances, performance dates, and performance locations can be found with each play
synopsis in Appendices A and B, and Play Synopsis Addenda on Page 75.
MS1/CHERIE GORDON COLLECTION
Page 75
PLAY ADDENDA
A Non-Le Théâtre Lesbíen play was found at a later date and the synopsis has been added
here.
1974
“Gertrude, Alice, Radclyfe, Una in Paris,” [by The Shameless Hussies, c.1974]
Cast of Characters:
Radclyffe Hall – An English writer in Paris
Alice B. Toklas - Gertrude Stein’s partner and also a writer
Gertrude Stein – An American writer living in Paris
Lady Una Troubridge – An English writer in Paris
Synopsis:
The four women meet in Paris and discuss dyke life in the city.
Theme: Lesbianism
Performances: Unknown
MS1/CHERIE GORDON COLLECTION
Page 76
Subject Headings and Name Entries for this collection
Lavender Library, Archives, and Cultural Exchange of Sacramento, Inc.:
Gordon, Cherie, 1946One Person, Matrisha
Szwambi, Madame
Le Théâtre Lesbíen
Lesbians
Theater
Manuscripts
History
Photography
Plays
Sacramento (Calif.)
Library of Congress:
Gordon, Cherie, 1946-- Manuscripts
One Person, Matrisha
Szwambi, Madame
Le Théâtre Lesbíen
Lesbians – Drama
Lesbians – California – Sacramento
Lesbians in literature
Lesbians’ writings, American
American drama – Women authors
American drama – 20th century
Women – Drama
Feminism
Lesbianism
Gay Community – California – Sacramento
Manuscripts – California -- Sacramento