Le Mariage de mademoiselle Beulemans

Le Mariage de mademoiselle Beulemans [lower-alpha 1] is a three-act comedy play written in 1910 by the Belgian playwrights Frantz Fonson and Fernand Wicheler.[1] It is a bourgeois[2] situation comedy of manners and character,[3] and a satire on the aspirations and issues of the lower middle class that emerged in Brussels in the early twentieth-century.[4][5][6]

Le Mariage de mademoiselle Beulemans
Le Mariage de Mlle Beulemans
first edition book's cover art
by Philippe Swyncop
Written by
  • Frantz Fonson
  • Fernand Wicheler
Date premieredMarch 18, 1910 (1910-03-18)
Place premieredThéâtre de l'Olympia in Brussels
Original languageFrench
SubjectThe only daughter of a wealthy Brusselian brewer is torn between the obligation of filial obedience, to marry the son of a competing brewer, and her fondness for the young intern from Paris.
Genrecomedy
SettingBrussels

Combining French with the dialect and particular humour of Brussels,[7] the play was an instant success both in its home country and abroad,[8] and has continued to enjoy revivals and has been met with a positive audience. Le Mariage de mademoiselle Beulemans is nowadays widely regarded as an integral piece of Brussels folklore and its people's good-natured cockiness, and endures as part of the Belgian heritage.[9]

Summary

The play is set in Brussels, where Suzanne Beulemans, the daughter of a rich brewer is promised to marry Séraphin Meulemeester, the son of a rival brewer. The young man and his father both seem particularly motivated by the dowry of the young fiancée.

But Séraphin has a rival in Albert Delpierre, a young Frenchman who is learning brewery from Ferdinand Beulemans and who is discreetly enamoured with the young woman. Albert learns Séraphin's secret that he is having an affair with a woman worker and that they have had a child. He promises Séraphin that he will never reveal any of it to Suzanne, but she is told by Isabelle, her maid.

Suzanne breaks off the engagement with Séraphin and convinces him to return to the woman he loves and his son. This break-up leads to another dispute: both brewers are hereafter in contention for honorary presidency of the brewers society. Eventually, Suzanne and Albert strive to promote the election of Beulemans which instills him with a deep gratitude toward Albert.

Cast
Lucienne Roger, Jules Berry and Alfred Jacque at Paris' Théâtre de la Renaissance in 1910

Original cast members throughout the first Belgian and French runs featured:[10]

  • Lucienne Roger as Suzanne Beulemans, the only Beulemans daughter
  • Jacque as Ferdinand Beulemans, Brussels brewer, Suzanne's father
  • Vara as Hortense Beulemans, Suzanne's mother
  • Jules Berry as Albert Delpierre, young Frenchman employed by Beulemans
  • Frémont as Monsieur Delpierre, French shopkeeper, Albert's father and acquaintance of Beulemans
  • Merin as Séraphin Meulemeester, Suzanne's fiancé
  • Ambreville as Monsieur Meulemeester, Séraphin's father
  • Vitry as Isabelle, Maid
  • Mylo as Mostinckx, committee president
  • Marmont as Verduren, committee secretary
  • Daix as Baron, committee treasurer
  • Duro, Delferrière, Nobel, Lennac, Cerrébos as committee members
  • Cilly as Octavie, waitress

The production crew included Frantz Fonson as stage director and Albert Dubosq as scenographer.

History

Most likely inspired both by his family history[11] and by the work of Belgian novelist Léopold Courouble which depicts the Brusselian life and manners of the Kaekebroeck family,[12] Frantz Fonson penned Le Mariage de mademoiselle Beulemans in collaboration with his fellow writer Ferdinand Wicheler, in order to overcome an unexpected canceling of a Parisian theatre company scheduled at Brussels' Théâtre de l'Olympia for spring of 1910.[13]

Premieres

The play premiered at Brussels' Théâtre de l'Olympia on March 18, 1910 and went on to Paris with the original cast,[14] at Théâtre de la Renaissance on June 7, 1910.[15][16][17][18] It had its first Swiss staging in Geneva the same year.[19][20]

During the year 1911, while he was undertaking his first tour across South America with the Régnier-Tarride theatre company, Lucien Guitry directed the play's first stage performance outside Europe and interpreted Ferdinand Beulemans' role.[21] It premiered at Rio de Janeiro's Theatro Municipal on the 9th of July. Members of the original French cast included Guitry's wife, Jeanne Desclos, in the role of Suzanne Beulemans, Louis Sance as Albert Delpierre and Gabriel Signoret as M. Meulemeester.[22] An amateur production of the play was simultaneously staged for the first time in Argentina at Buenos Aires by Julian Jaraczewski on behalf of the Belgian photographic association.[23]

In 1912, French producer and actor Paul Derval mounted a tour across former French Algeria. Le Mariage de mademoiselle Beulemans premiered for the first time in Africa at Algiers' Kursaal on the 27th of September.[24] Belgian actor Balthus performed the role of Ferdinand Beulemans with Belgian actress Yvonne Talbrys in the title role, and entertained French-speaking audiences in various performance halls throughout Algerian cities.[25][26][27]

Revivals

Sequels

In the wake of the play's success,[28] the authors wrote an operetta-like sequel, in three acts and four scenes, entitled: Beulemans marie sa fille.[lower-alpha 2] The music was composed by Arthur van Oost.[30] The operetta was first seen in Brussels at Théâtre royal des Galeries on October 18, 1912, with Yvonne Gay,[lower-alpha 3] Alfred Jacque,[lower-alpha 4] Berthe Charmal,[lower-alpha 5] Georges Foix,[lower-alpha 6] Emile Mylo[lower-alpha 7] and Nicolas d'Ambreville[lower-alpha 8] in major roles.[31]

Tribute

The success of the play with audiences outside Belgium, despiste its strong local colour, strengthened Marcel Pagnol's will to write its trilogy of plays Marius, Fanny, and César. On the fiftieth anniversary of the play, the French academician met Lucien Fonson and told him how deeply his work was indebted to Le Mariage de mademoiselle Beulemans. The text of his statement is curated at Brussel's Théâtre royal des Galeries,[lower-alpha 9] and remained as the tribute of renown to Fonson and Wicheler's mastrepiece.[32][33]

Adaptations

Settings in French

In 1927, French film director Julien Duvivier adapted the play for the cinema as a silent film,[1] which starred French film actress Andrée Brabant in the lead role, using the same title.[34] This first screen adaptation premiered the same year at Paris' Electric-Palace-Aubert on the 23rd of September.[35] The play was also adapted to the screen in 1932 by Jean Choux, and in 1950 by André Cerf, who both titled their film just as their predecessor did in 1927.[36]

The French-language division of the Belgian public broadcaster produced and broadcast several television adaptations; with the following casts:

  • 1967: Christiane Lenain (Suzanne), Jacques Lippe (M. Beulemans), Irène Vernal (Mme Beulemans), Jean-Pierre Loriot (Séraphin), Alain Robert (Albert), Marcel Roels (M. Meulemeester)
  • 1978: Ania Guédroitz (Suzanne), Jacques Lippe (M. Beulemans), Christiane Lenain (Mme Beulemans), Olivier Monneret (Séraphin), Leonil Mc Cormick (Albert), Robert Roanne (M. Meulemeester)
  • 1998: Cécile Florin (Suzanne), Raymond Pradel (M. Beulemans), Anne Deroever (Mme Beulemans), Pierre Pigeolet (Séraphin), Damien Gillard (Albert), Robert Roanne (M. Meulemeester) - Production by Théâtre de Montreux (Swiss)
  • 2004: Cécile Florin (Suzanne), Daniel Hanssens (M. Beulemans), Pascale Vyvère (Mme Beulemans), Pierre Pigeolet (Séraphin), Damien Gillard (Albert), Robert Roanne (M. Meulemeester) Claudie Rion (Isabelle)
  • 2014: Wendy Piette (Suzanne), Daniel Hanssens (M.Beulemans), Manuel Servais (Mme Beulemans), Denis Carpenters (Seraphin), Damien De Dobbeleer (M Albert), Laure Godisiabois (Isabelle), Pascal Racan (M Delpierre), Michel Poncelet (M Meulemeester), Bernard Lefranc (president), Jean-Paul Clerbois (secretary)
  • 2014, featured a cast of Belgian television presenters: Caroline Veyt (Suzanne), Guy Lemaire (M. Beulemans), Marie-Hélène Vanderborght (Mme Beulemans), Adrien Devyver (Séraphin), Stéphane Jobert (Albert), Hubert Mestrez (M. Meulemeester), Sara de Paduwa (Isabelle)

Settings in Flemish

The play was adapted into an Antwerpian context by Belgian writer Antoon de Graef and published in Antwerp as Fientje Beulemans.[37][38][lower-alpha 10] In the months that followed the outbreak of the First World War, Fientje Beulemans was staged at various Dutch theatres, with an exiled Flemish theatre troupe of the Royal Flemish Theatre of Antwerp.[41] The adapted play, which starred Belgian actress Magda Janssens in the title role,[42] was a runaway success with audiences across the Netherlands and lasted several months during wartime exile. The one hundredth performance of Fientje Beulemans was staged at Amsterdam's Flora Theatre in March 1916.[43][44] De Graef's adaptation also enjoyed several revivals in Belgium and in the Netherlands over the years, including a 1952 Rotterdam production with Mieke Verstraete and Kees Brusse.[45]

It was subsequently adapted for television by Belgian director Anton Peters with Chris Lomme performing the role of Fientje, produced by the Belgische Radio- en Televisieomroep and aired on March 14, 1974.[46]

In 2002 Roger van de Voorde, stage director for the Brussels Volkstejoêter company, in collaboration with translator Claude Lammens,[47][48][49] rewrote the play into Brussels dialect for the Flemish-speaking audiences. The rewritten play, now titled De Traafiest van Mademoiselle Beulemans, was partially staged on a grant from the Flemish Parliament by the Brussels Volkstejoêter company,[50] and premiered at Brussels' Kaaitheater on February 8, 2003.[51][52] More than 13,000 spectators came to see the thirty-eight performances of the play.[53]

Settings in English

In 1910,[54] Fonson and Wicheler's play was for the first time translated into American English as Suzanne by Charles Haddon Chambers, without any particular adaptation to any singular place and cultural background.[55] It was mounted at the Lyceum in New York by Charles Frohman, with Billie Burke performing the role of Suzanne Beulemans, and received its premiere on the 26th of December of the same year. The play lasted sixty-four performances.[56]

In 1912, Sydney Blow and Douglas Hoare wrote a new English translation and stage adaptation of the Belgian comedy set in the Welsh town of Carmarthen as Little Miss Llewelyn.[57][58] The play, which starred Hilda Trevelyan in the title role, was produced at the Vaudeville Theatre in London's West End by Norman McKinnel and ran from August 31, 1912 to February 20, 1913 for a total of one hundred and eighty-six performances and achieved popular success.[58][59][60]

In 1996, American playwright and translator David Willinger revisited the play, within its original time period, and set the plot in Brooklyn's Yiddish-speaking community.[61] He published this new American English adaptation under the title of Miss Bullberg's Marriage.[62] The play is still to be staged.[63]

Settings in other languages

Besides inspiring two English adaptations in the authors' lifetime, the play has also been adapted, altered or translated and performed across different countries, and born several editions.

It was almost immediately translated by Hungarian writer Heltai Jenő and published at Budapest in 1910 as Beulemans Kisasszony házassága. It premiered on the 5th of October of the same year at the Vígszínház, Budapest's grand comedy theatre.[64][65]

The play was presented and first staged with Galli theatre company in an Italian translation in Rome at the Teatro Valle on January 11, 1911 under the title Il matrimonio della signorina Beulemans.[66][67][68]

A Czech version by Luděk Frič was mounted at Prague's National Theatre, the Národní divadlo, and premiered on September 15, 1911 as Vdavky slečny Beulemnsovy.[69]

A translated version of the play entitled Susanne verlobt sich, by German writer Theodor Ferdinand Bock, was produced at Berlin in 1911.[70][71]

The play was adapted to the Danish stage by Danish writer Johannes Anker Larsen in collaboration with Danish screenwriter Paul Sarauw for the Folketeatret of Copenhagen as Anne-Maries giftermaal,[72] or Annemaries giftermaal,[73] and premiered on November 3, 1912.[74]

A Brazilian Portuguese version entitled O casamento da senhorita Beulemans was published at Rio de Janeiro following its premiere at the Cinema Rio in August 1913, as translated by Brazilian writer Renato de Castro.[75][76]

The play, which had its first performance in German in Berlin in 1911, was likewise mounted in German for the Austrian stage at Vienna's Lustspieltheater at the end of 1913 in an adaptation entitled Schwechater Lager.[77][78][79]

The play was translated into Finnish as Kunnia-esimies Beulemans and premiered on May 20, 1914 at the National Theatre of Finland, in Helsinki.[80][81][82]

On the evening of April 10, 1915 at Lisbon's Teatro da Avenida, the first performance in Portugal was given of Fonson and Wicheler's play, translated by Portuguese writer Accacio Antunes, under the title of O casamento da menina Beulemans.[83]

Turkish writer Hüseyin Suâd Yalçın translated and altered the play in collaboration with Münir Nigâr as Kayseri Gülleri. It premiered at Instanbul's Tepebaşı Theatre on March 23, 1918 and was first published in Ottoman Turkish in 1920. This version was given in modern Turkish transcription by Atabey Kılıç, and published in April 2016.[84][85]

The play was adapted in Sweden by Swedish writer Algot Sandberg as Ann-Sofis giftermål and premiered at Stockholm's Södra Teatern on September 24, 1921.[86][87]

In 1953, the play was adapted into an Alsatian context by bilingual poet, playwright and composer Victor Schmidt as D'Hochzitt vo dr Mamsell Martischang, and staged at Colmar in the vernacular by the local dialectal company Théâtre Alsacien de Colmar.[88]

Aside from these translations or adaptations, it was alleged that the play was also adapted and introduced in Japan to a Japanese audience.[89][90]

About the play

When Frantz Fonson died in December 1924, the exclusivity over all theatrical adaptations of the play, including professional and amateur, was left to the Théâtre royal des Galeries with his son Lucien as stage director, agreeably to his last will.[91] The play passed into the public domain on the seventieth anniversary of Wicheler's death, in 2006.[92]

Although a number of actors have added their own interpretations to the play, Gustave Libeau and Jacques Lippe are especially noted for their portrayals of Ferdinand Beulemans.[93] Belgian actress Catherine Lenain was the worthy partner of Jacques Lippe and achieved fame in her performance eleven years apart of Beulemans' daughter and wife.[94]

Notes
  1. The marriage of Miss Beulemans or Miss Beulemans' Wedding
  2. Beulemans marries his daughter[29]
  3. In the role of Suzanne Beulemans
  4. In the role of Ferdinand Beulemans
  5. In the role of Hortense Beulemans
  6. In the role of Albert Delpierre
  7. In the role of Séraphin Meulemeester
  8. In the role of Monsieur Meulemeester
  9. The text may be translated as follows: Around 1925 I discovered I loved Marseilles, for I felt like an exile in Paris, and I wanted to express this attachment by writing a Marseilles play. Some friends and elders dissuaded me from doing so. They told me that a work in so localised a context, which would put on show characters saddled with such a particular accent, would certainly not be understood outside of Bouches-du-Rhône, and that in Marseilles itself it would be considered an amateur work. These arguments seemed sound and I gave up on my project. But in 1926 I saw Le Mariage de Mlle Beulemans; this masterpiece was already sixteen years old and its success had gone around the world.
    That night, I realised that a local, but profoundly sincere and authentic play could sometimes have a place in the literary heritage of a country and appeal to the whole world.
    So I tried to do for Marseilles what Fonson and Wicheler had done for Brussels, and that's how a Belgian brewer became the father of César and how the charming Mademoiselle Beulemans brought Marius into the world at the age of seventeen.
    Another character also owes his existence to the Brussels comedy: this is Monsieur Brun who is somehow, rather ironically, the illegitimate son of the Parisian Albert Delpierre. I had indeed noticed that his accent formed a pleasant contrast to that of the Beulemans family and highlighted the Brussels flavour of the play. Here's why I placed a man from Lyon at César's Marseilles bar.
  10. Within the same cultural context, Beulemans marie sa fille was likewise adapted by Antoon de Graef, who tackled the play's sequel in its original, operetta form, as Uffra Beulemans gaat trouwen.[39] It was first mounted at Antwerp's Scala music hall in March 1914, months before the war broke out.[40]
gollark: I can also technically access Discord if I plug my server's graphical output into a TV, but this would be quite difficult.
gollark: He doesn't have my passwords.
gollark: My Raspberry Pi has video output and can run a browser and thus Discord, so that would work too.
gollark: Some of them are portable.
gollark: Also, I control all the networking hardware.

References
  1. Mosley, Philip (2001). "Beginnings to the coming of sound". Split Screen: Belgian Cinema and Cultural Identity. Albany (NY), USA: State university of New York press. p. 37. ISBN 0791447480. OCLC 470337923. Other contributors included Fernand Wicheler, who, with Frantz Fonson, wrote the most popular Belgian play of all time, Le Mariage de Mademoiselle Beulemans (The marriage of Miss Beulemans, 1910), adapted to film on three occasions by French directors, including a silent version by Duvivier (1927) shot partly in Brussels with Belgian actors and featuring accented language in the intertitles, as Macin had done from 1912 to 1914
  2. Stoullig 1910, p. 257.
  3. Duchene 2018, p. 15.
  4. de Bousies, Maxime (September 25, 1910). "A propos du " Mariage de Mademoiselle Beulemans "" (PDF). L'Art moderne (in French). 30 (39). Brussels, B: Imprimerie Veuve Monnom. pp. 308–309 – via La Digithèque des Bibliothèques de l'Université Libre de Bruxelles.
  5. Vandervelde, Lalla (1922). "Belgium". In Chisholm, Hugh (ed.). Encyclopædia Britannica. XXX (twelfth ed.). London, UK: Encyclopædia Britannica. p. 446. OCLC 1044667805. …and Le Mariage de Mademoiselle Beulemans by Fonson and Wicheler, a picture of the life of the lower middle class in Brussels.
  6. McRae, Kenneth D. (March 13, 1986). "Group images, attitudes, and the political system". Conflict and Compromise in Multilingual Societies: Belgium. Conflict and Compromise in Multilingual Societies. 2. Waterloo (ON), CAN: Wilfrid Laurier University Press. p. 94. ISBN 9780889201637.
  7. Rousseau, André (1933). L'art d'être Européen [The art of being European] (in French). Paris, F: Éditions du Siècle. p. 211. Le savoureux langage de M. Beulemans a fait fortune sur les scènes de notre boulevard.
  8. Bimnet, Ernest (March 1913). Wray Skilbeck, William (ed.). "The Morals of French Plays". The Nineteenth Century and After XIX–XX. LXXIII January – June 1913 (CCCCXXXIII). New York (NY), USA: Leonard Scott Publishing Company. p. 578. The most successful plays are none of those I have named for their literary or philosophical excellence; they are mere pieces of extravagant drollery, like Papa, the Mariage de Mademoiselle Beulemans, Le Petit Café, or La Prise de Berg-op-Zoom, with which neither morals, nor philosophy, nor art in the higher sense of the word, have anything to do.
  9. van Morckhoven, Paul; André, Luc (1970). The contemporary theatre in Belgium. Brussels, B: Belgian Information and Documentation Institute. p. 73. OCLC 906056246.
  10. Fonson, Frantz; Wicheler, Fernand (July 9, 1910). "Le Mariage de Mlle Beulemans". L'Illustration Théâtrale (in French) (155). Paris, F. p. 2.
  11. Emond 2015, p. 359–360.
  12. Delsemme 1983, p. 409.
  13. Emond 2015, p. 323.
  14. de Villemessant, Hippolyte; Jouvin, Benoît, eds. (May 24, 1910). "Courrier des Théâtres - Les saisons d'été" [Theatrical stages courier - Summer seasons]. Le Figaro (in French) (144). Paris, F. p. 6. ISSN 0182-5852 – via Gallica. Le Mariage de Mlle Beulemans, l'immense succès de rire du théâtre de l'Olympia de Bruxelles, sera donné au théâtre de la Renaissance, le 6 juin, à neuf heures du soir, en représentation générale. Le 7, première représentation. La célèbre comédie belge de MM. Fonson et Wicheler sera jouée par tous les artistes de la création.
  15. Robby (June 6, 1910). de Pawlowski, Gaston (ed.). "Renaissance (Saison Belge) Le Mariage de Mlle Beulemans" [Renaissance (Belgian Season) The Marriage of Miss Beulemans]. Comœdia (in French) (980). Paris, F. p. 1. ISSN 1247-6722 – via Gallica.
  16. Maus, Octave (June 12, 1910). "" Mademoiselle Beulemans " à Paris" (PDF). L'Art moderne (in French). 30 (24). Brussels, B: Imprimerie Veuve Monnom. pp. 188–189 – via La Digithèque des Bibliothèques de l'Université Libre de Bruxelles.
  17. Duquesnel, Félix (July 1, 1910). de Brunhoff, Maurice (ed.). "La saison belge au Théâtre de la Renaissance" [Belgian season at Théatre de la Renaissance]. Comœdia illustré (in French). 2 (19). Paris, F. pp. 575–576. ISSN 1247-6706 – via Gallica.
  18. De Grève 1991, p. 218.
  19. "Petite chronique" (PDF). L'Art moderne (in French). 30 (42). Brussels, B: Imprimerie Veuve Monnom. October 15, 1910. p. 335 – via La Digithèque des Bibliothèques de l'Université Libre de Bruxelles. M. Poirier a loué pour le mois de novembre le théâtre Réjane afin d'y faire jouer le Mariage de Mademoiselle Beulemans dont près de deux cents représentations au théâtre de la Renaissance n'ont pas épuisé le succès. La jolie comédie bruxelloise de MM. Fonson et Wicheler a reçu à Genève, où elle est représentée simultanément dans deux théâtres, un accueil aussi flatteur qu'à Paris.
  20. "Théâtres et concerts". La Tribune de Genève (in French). Geneva, CH. October 29, 1910. p. 4 – via Bibliothèque numérique RERO DOC. A la Comédie. Tous les soirs, à 8h. ½ précises, Le Mariage de Mlle Beulemans, comédie de MM. Fonson et Wicheler.
  21. Basset, Serge (June 8, 1911). Calmette, Gaston (ed.). "Les Voyages de M. Lucien Guitry". Le Figaro (in French) (54). Paris, F. p. 4. ISSN 1241-1248 – via Gallica. M. Lucien Guitry a eu la plaisante idée de monter le Mariage de Mlle Beulemans, et avec ce sens inné du comique qu'ont les grands artistes (une des joies des amis de Mme Sarah Bernhardt est de lui voir esquisser, dans l'intimité, l'interprétation de certaines scènes de Molière), il jouera le rôle du père Beulemans.
  22. Kruss, J. (July 10, 1911). Bittencourt, Edmundo (ed.). ""LE MARIAGE DE MLLE. BEULEMANS" Comedia em 3 actos de Fonson e Wuhler, pela companhia do Vaudeville" (PDF). Correiro da Manha (in Portuguese) (3644). Rio de Janeiro, BRA. p. 3 – via Coleção Digital de Jornais e Revistas da Biblioteca Nacional. Em matinée, a companhia Guitry representou hontem, pela primeira vez nesta estade, a novissima comedia em tres actos, de Fonson e Wuhler, dois finissimos escriptores e jornalistas belgas, Le mariage de mlle. Beulemans, que não ha muito foi levada, em Paris, com grande sucesso.
  23. Verbrugghe, Théobald (1911). Puttemans, Charles (ed.). "Scéance du 19 juillet 1911". Bulletin de l'Association belge de photographie (in French). Section de Buenos-Aires. Brussels, B: Émile Bruylant. p. 338. On savait déjà que le groupe d'amateurs que le directeur des fêtes de l'Association, M. Jaraczewski, était parvenu à organiser devait remplir sa tâche à merveille et que le concours de M. Léopold artiste comique de la Scala de Bruxelles, de passage à Buenos-Aires, et ayant bien voulu tenir dans la pièce le rôle de Beulemans, devait déchaîner, par son interprétation exceptionnellement heureuse et parfaite, le fou rire dans la salle.
  24. Baïlac, Étienne, ed. (September 26, 1912). "Kursaal Music Hall". L'Echo d'Alger : journal républicain du matin (in French) (195). Algiers, DZ. p. 3 – via Gallica. …adieux de l'excellente troupe qui va faire place aux artistes belges chargés d'interprêter pour la première fois à Alger le gros succès du jour : Le Mariage de Mademoiselle Beulemans.
  25. Baïlac, Étienne, ed. (September 28, 1912). "Au Kursaal". L'Echo d'Alger : journal républicain du matin (in French) (197). Algiers, DZ. pp. 3–4 – via Gallica.
  26. Perrier, Paul, ed. (October 2, 1912). "Nouvelles locales". L'Écho d'Oran : journal d'annonces légales, judiciaires, administratives et commerciales de la province d'Oran (in French) (14880). Oran, DZ. p. 3 – via Gallica.
  27. Claudine (October 17, 1912). Gajac, Camille (ed.). "Le Mariage de Mlle Beulemans". Le Progrès : journal de l'arrondissement d'Orléansville (in French) (932). Algiers, DZ. p. 2 – via Gallica.
  28. De Grève 1991, p. 226.
  29. Chandler, Frank Wadleigh (1931). "FONSON, FRANZ (JEAN FRANÇOIS)". Modern continental playwrights. Plays and playwrights series. New York (NY), USA: Harper & Brothers. p. 619. OCLC 574650455. Beulemans Marries His Daughter, an operetta, 1913
  30. "Catalog of Copyright Entries: Musical compositions". Catalog of Copyright Entries: Musical Compositions, Part 3. New series. Library of Congress. Copyright Office. 8 (13): 2009. 1914. Oost (Arthur van) Beulemans marie sa fille. 6403, 6404.
  31. Tybalt (November 16, 1912). Milliet, Paul (ed.). "La Semaine Théâtrale : Bruxelles". Le Monde artiste : théâtre, musique, beaux-arts, littérature (in French) (46). Paris, F. p. 730 – via Gallica.
  32. Delsemme 1983, p. 418.
  33. Thys, Marianne (1999). Belgian cinema (in English, French, and Dutch). Brussels , B: Royal Belgian Film Archive. p. 992. ISBN 9789055442348. And since Marcel Pagnol declared that without Beulemans he would neither have written Marius nor produced so many masterpieces, why should we throw a spanner in the works?
  34. Brabant, Andrée (1927). Quand j'étais Mademoiselle Beulemans [When I was Miss Beulemans]. Collection nos grandes vedettes & leurs films (in French). Paris, F: La Renaissance du Livre. OCLC 51413623.
  35. Druhot, Léon, ed. (September 23, 1927). "Informations – Communiqués". Ciné-journal (in French) (943). Paris, F. p. 11 – via Gallica.
  36. Goble, Alan (1999). The Complete Index to Literary Sources in Film. London, UK; New Providence (NJ), USA: Bowker-Saur. p. 161. ISBN 3598114923. OCLC 929835007.
  37. Fonson, Jean-François; Wicheler, Fernand (n.d.). Fientje Beulemans: blijspel in drie bedrijven (in Dutch). Translated by de Graef, Antoon. Antwerp, B: Janssens. p. 53. OCLC 901652150.
  38. W.D.G. (October 10, 1986). Vloebergh, Wouter (ed.). "Tien jaar Const Ieveraers in Kallo". De Voorpost (in Dutch) (43). Ed. Aalst. Aalst, B. p. 12 – via Digitaal krantenarchief - Stadsarchief Aalst. Het werd ook naar Antwerpen gehaald waarbij revueschrijver Anton De Graef het verhaal naar de Scheldestad transponeerde.
  39. "Scala "UFFRA BEULEMANS GAAT TROUWEN"". Het Tooneel (in Dutch) (44). Antwerp, B. July 13, 1918. p. 2 – via Nieuws van de Groote Oorlog: Het Archief. Donderdag 27 Juni en volgende dagen : «Uffra Beulemans gaat trouwen», beroemde operette in drie bedrijven en vier tafereelen. — Vlaamsche bewerking van Antoon De Graef.
  40. "Scala". Méphisto (in Dutch) (24). Antwerp, B. March 12, 1914. p. 2 – via Nieuws van de Groote Oorlog: Het Archief. La Scala doit certainement une bonne partie de sa vogue à ce qu'elle s'est fait une spécialité des spectacles joyeux. Celui qu'elle vient de monter ne manque pas à la tradition : rarement on a entendu la salle de la rue Anneessens retentir de rires aussi homériques que pendant les trois actes de l'opérette nouvelle «Uffra Beulemans gaat trouwen!».
  41. "Stadsnieuws". Schoonhovensche Courant (in Dutch) (3608). Schoonhoven, NL: S. & W. N. van Nooten. December 5, 1914 – via Streekarchief Midden-Holland. Dinsdagavond hadden de leden van het departement Schoonhoven der Maatschapij „Tot Nut van 't Algemeen“ het genoegen voor zich te zien optreden de Vereenigde Toneelspelers van den Koninklijken Vlaamschen Schouwburg te Antwerpen.
  42. Westerbaan, Pier (1921). "Magda Janssens" (PDF). Cinema en Theater (in Dutch) (41). Leiden, NL. p. 8. De ellendige October dagen van 1914 noodzaakten ook de Belgische kunstenaars hun woonsteden te vertaten. Al spoedig hadden ze elkaar gevonden en 't plan om door hun kunst zich ook in Nederland een bestaan te verschaffen, was gauw gemaakt. En zoo hadden we een Viaamsch en, een Fransch tooneelgezelschap gekregen. Het eerste werd begrijpelijkerwijze het meest populair. En dat was te danken aan het leutige tooneelspel dat werd opgevoerd, maar meer nog aan één enkele actrice, die oogenblikkelijk aller aandacht vroeg. Dat tooneelwerk was „Fientje Beulemans“ en die actrice was Magda Janssens, die met haar Fientje dadelijk aller harten won en de critici verblufte door haar sappig sjid.
  43. "Honderste vertooning van "Fientje Beulemans" te Amsterdam". Het Tooneel (in Dutch) (16). Antwerp, B. March 4, 1916. p. 3 – via Nieuws van de Groote Oorlog: Het Archief. Het was toen het troepje uitgeweken Belgische tooneelspelers van den Koninklijken Vlaamschen: Schouwburg in Antwerpen, dat op eigen risico in «Flora» ; in de Amstelstraat speelde. Royaards meende in Magda Janssens een belangrijke kracht voor zijn gezelschap te vinden en heeft bewezen zich niet vergist te hebben.
  44. de Salm, Marc, ed. (March 4, 1916). "LA CENTIEME DE " FIENTJE BEULEMANS " A AMSTERDAM". Le Bruxellois (in French) (516) (B ed.). Brussels, B. p. 2. D'après le Nieuwe Rotterdamsche Courant on vient de donner la centième représentation de Fientje Beulemans, au Théâtre Flora, à Amsterdam. Cette pièce, une adaptation flamande du Mariage de Mlle Beulemans, est jouée par la troupe Rooyaards, avec une artiste anversoise, Mlle Magda Janssens, dans le rôle de Fientje. C'est un franc succès pour la petite troupe d'artistes du Théâtre Royal Flamand réfugiés en Hollande.
  45. W.E. (December 24, 1952). Piebenga, J.; van Beem, C. (eds.). "Avond van Vlaamse leut: Rotterdamse Comedie speelde Fientje Beulemans". Leeuwarder Courant (in Dutch) (301). Leeuwarden, NL: N. V. Erven Koumans Smeding. p. 9 – via Koninklijke Bibliotheek. Precies dus de gelegenheid om Fientje Beulemans te voorschijn te halen, de simpele historie van de Vlaamse bierbrouwersdochter met haar eigen willetje, dat geen man kon weerstaan, zodat ze tenslotte niet alleen haar ex-verloofde op het goede pad bracht en zichzelf een aanzienlijk charmanter toekomstigen echtgenoot verwierf, maar bovendien met behulp van den laatste haar vader nog het aanvankelijk gemankeerde en zo vurig begeerde ere-voorzitterschap van den brouwersbond verschafte.
  46. "Fientje Beulemans (1974)". Seattle (Washington), USA: IMDb.com, Inc.
  47. "Volkstejoeter zoekt acteurs". De Standaard (in Dutch). Brussels, B. June 8, 2002. „Het wordt een heel herkenbaar stuk in een herkenbare taal, het Brussels“, aldus de regisseur Roger Van de Voorde.
  48. Daems, Frodo (March 2003). "Tejoêter op z'n Brussels" (PDF). De Zandloper (in Dutch) (3). Wemmel, B. p. 6. ISSN 1384-7090 – via www.dezandloper.be. Roger Van De Voorde heeft het vertaald naar het Vlaams-Brussels.
  49. de Vriendt, Sera; van der Sijs, Nicoline (2004). "Literatuur in het Brussels". Taal in stad en land: Brussels (in Dutch). Tielt, B: Uitgeverij Lannoo. p. 115. ISBN 9020958577. De bewerkers, Claude Lammens en Roger van de Voorde, geven dan misschien de teksten niet uit maar, niet te verwaarlozen detail: er bestaan video's van.
  50. Vlaams Parlement (June 26, 2003). "Vraag nr. 26 van 14 februari 2003 van de heer LUK VAN NIEUWENHUYSEN" (PDF) (in Dutch). Brussels, B – via vlaamsparlement.be. Subsidieaanvragen met positieve beslissing Brussels Aanvrager: Volkstejoêter Project: Vlaams-Brussels theaterproject "De Traafiest van Mademoiselle Beulemans" Bedrag euro: 25.000,00
  51. "Het succes zit 'm in spitante en sappige van Brussels dialect". De Morgen (in Dutch). Brussels, B. February 11, 2003. De Traafiest van Mademoiselle Beulemans van het Brussels Volkstejoêter ging afgelopen weekend in première.
  52. Van Cauteren, Marc, ed. (February 13, 2003). "Regisseur Brussels Volkstejoêter verkozen tot 'Brusseleir van 't joêr'". De Financieel-Economische Tijd (in Dutch). Brussels, B – via www.tijd.be. Dat gebeurde in het Kaaitheater, waar het Brussels Volktejoêter woensdagavond haar nieuwste productie "De Traafiest van Mademoiselle Beulemans" opvoerde.
  53. de Vriendt, Sera (February 2006). "Enkele kenmerken van het Brussels Vlaams". Neerlandica Extra Muros (in Dutch). 44 (1). Amsterdam, NL: Rozenberg Publishers. p. 9. ISSN 0047-9276 – via Digitale Bibliotheek voor de Nederlandse Letteren. In 2003 werd De traafiest van mademoiselle Beulemans (in de oorspronkelijke versie Le mariage de mademoiselle Beulemans) opgevoerd: 38 voorstellingen werden door meer dan 13.000 toeschouwers bijgewoond.
  54. Freedley, George; Reeves, John A. (1941). A history of the Theatre (1st ed.). New York (NY), USA: Crown Publishers. p. 417. LCCN 40029429. OCLC 371570. OL 6408598M. C. Haddon Chambers adapted the play as Suzanne, the same year it was staged in Paris.
  55. Ernst, William E., ed. (February 1911). "Moribund comedies". The World To-day: A Monthly Record of Human Progress. XX (2). Chicago (IL), USA: Current Encyclopedia Company. p. 145. OCLC 6283129. Other comedies have come to grace or disgrace the stage, but it is difficult to classify such abject failures as “Suzanne,” brought from the French version into English by Haddon Chambers, without preserving a particle of its original sparkle.
  56. Hanaford, Harry Prescott; Hines, Dixie, eds. (January 1, 1914). Who's who in Music and Drama. New York (NY), USA: H. P. Hanaford Publisher. p. 65. OCLC 5345361.
  57. H. V. M. (1913). ""Little Miss Llewelyn." The Story of the Play". The Playgoer and Society Illustrated: A Magazine of the Drama, Fashion and Society. Seven (37). London, UK: The Kingshurst Publishing Co. Ltd. pp. 1–19. OCLC 693945890.
  58. Wearing, John Peter (1982). The London Stage 1910-1919: A Calendar of Productions, Performers, and Personnel (4th ed.). Metuchen (NJ), USA: Scarecrow Press, Inc. p. 274. ISBN 0810815966.
  59. Cowper, Cecil, ed. (September 7, 1912). ""Little Miss Llewelyn" at the Vaudeville Theatre". The Academy and literature. LXXXIII (2105). London, UK: Odhams Ltd. p. 319. No one expected the Carmarthenshire edition of “Le Mariage de Mlle Beulemans” to be quite so charming or the long list of Welsh actors to convince so fully, or to fill the stage after just such an admirable fashion.
  60. White, Matthew (1913). Marcosson, Isaac Frederick (ed.). "The Stage – The London Season". Munsey's Magazine. XLIX – April, 1913, to September, 1913. New York (NY), USA: The Frank A. Munsey & Company. But it is to a Welsh version of a Belgian comedy, “Little Miss Llewelyn,” that the first prize for endurance must be awarded. This initial offering of the managerial partner- ship between Hilda Trevelyan and Edmund Gwenn, two capable players from Charles Frohman’s London roster, started at the Vaudeville on August 31, and ran for more than six months.
  61. Mosley, Philip (1997). "DAVID WILLINGER, ed. and trans., Three Fin-de-Siècle Farces". New Comparison: a Journal of Comparative and General Literary Studies (24). London, UK: British Comparative Literature Association. pp. 186–187. ISSN 0950-5814. In choosing to Americanize his version by relocating the action from Brussels to Brooklyn, Willinger finds an equivalent to the old Brussels dialect of the arriviste Flemish family Beulemans in the Yiddish-inflected English of the Bullbergs, which in turn is contrasted with the Harvard tones of their prospective son-in-law. Willinger sets his adaptation in the time of the original, supplying a Yiddish glossary to help the reader along.
  62. Willinger, David (December 1, 1996). Three Fin-de-Siecle Farces. Belgian Francophone Library. 5. New York (NY), USA: Peter Lang Publishing Inc. pp. 129–250. ISBN 0820430412. OCLC 1023119628.
  63. Ottemiller, John H.; Montgomery, Denise L. (August 11, 2011). Ottemiller's Index to Plays in Collections: An Author and Title Index to Plays Appearing in Collections Published since 1900 (8th ed.). Metuchen (NJ), USA: Lanham Scarecrow Press Inc. p. 98. ISBN 081087721X. OCLC 969782432.
  64. Ponori Thewrewk, Emil; Gusztáv, Gusztáv, eds. (1911). A Magyar Tudományos Akadémia támogatásával és a Budapesti Philologiai Társaság megbízásából. "Egyetemes Philologiai Közlöny" (PDF). Egyetemes Philologiai Közlöny (in Hungarian). Budapest, HU: Franklin-társulat Könyvnyomdája. XXXV: 610. Fonson Frantz és Wicheler Fernand. Beulemans kisasszony házassága. Vígjáték 3 felv. Ford. Heltai Jenő. (Fővárosi színházak műsora 249—250. sz.) Budapest, 1910. Lampel B. (8-r. 85. 1.) 60 f. — Előadták a Vígszínházban, először okt. 5-én.
  65. Győrei, Zsolt (2002). "Heltai Jenő drámafordításainak lajstroma". Heltai Jenő drámai életműve (PDF) (PhD) (in Hungarian). Szeged, HU: University of Szeged. p. XLIII–XLIV. FONSON - WICHELER, Beulemans kisasszony házassága, vígjáték, Vígszínház, 1910
  66. Levi, Cesare, ed. (1911). "Cronaca". Rivista teatrale italiana (in Italian). Vol. 15. Florence, IT. p. 63. Comp. Galli-Guasti-Bracci-Ciarli : Il matrimonio della signorina Beulemans, c. di Fonson e Wicheler : 11 genn. 1911 : scarso succ.
  67. Ferri, Giustino L. (1911). "Raggegna drammatica". Nuova Antologia di Lettere, Scienze ed Arti (in Italian). Vol. CLII no. CCXXXVI. Quinta Serie. Roma, IT: Nuova Antologia. p. 156. ISSN 1125-3649. OCLC 848515581. Ma come riprodurre le particolarità dialettali del francese di Bruxelles nella traduzione italiana ? Gli espedienti adottati dal traduttore italiano furono straordinariamente infelici e parvero un'affettazione insipida che, invece di giovare, noceva all'effetto comico conseguito nel testo originale. Del resto nel Matrimonio della signorina Beulemans non si tratta soltanto d'uno studio di locuzioni e di pronunzia bastarde. Anche per i belgi e per i parigini sarebbero stati insopportabili tre atti che non avessero avuto che questo motivo di comicità inferiore e puramente formale.
  68. Levi, Cesare (1923). Ferrigni, Mario (ed.). "Teatro straniero in Italia". Annali del teatro italiano (in Italian). Vol. II no. 1921. Milano, IT: L'Eclettica. p. 44. Il matrimonio della signorina Beulemans, commedia di F. Fonson ed F. Wicheler (Roma, T. Valle, C. Galli-Guasti-Ciarli-Bracci, 11-I: scarso successo
  69. KMČ (September 29, 1911). Šimáček, Matěj Anastasia (ed.). "Divadlo". Zvon Týdenník belletristický a literární (in Czech). Vol. XII. Prague, CZ: Nákladem České grafické akc. společnosti „Unie“ (published 1912). p. 30. OCLC 5142402. Vdavky slečny Beulemnsovy. Veselohra o třech dějstvích. Francouzsky napsal Frantz Fonson a Fernand Wicheler. Přeložil Luděk Frič. Na Národním Divadle poprvé dne 15. září. Režisér Gustav Schmoranz.
  70. Klenz, Heinrich (1912). "Lexikon deutscher Schriftsteller und Schriftstellerinnen". Kürschners deutscher Literatur-Kalender (in German). Berlin, D: G. J. Göschen'sche Verlagshandlung G.m.b.H. p. 151. Bock, Theod. Ferd. (P. Ferd. Stieber) […] Bearb: Fonson u. Wicheler, Susanne verlobt sich, Lsp. 11.
  71. Emond 2015, p. 330.
  72. Jensen, Niels (December 5, 2018). "Andre teatres repertoire 1722-1975". Dansk Forfatterleksikon (in Danish). Anne-Maries Giftermaal Folkekomedie i 3 Akter af Frantz Fonson og Ferd. Wicheler. Bearbejdet og lokaliseret af Johs. Anker-Larsen og Paul Sarauw
  73. Lemkow, Victor, ed. (1912). "DET KGL. TEATER: "NATTERGALEN"". Teatret (in Danish). No. 13. Copenhagen, DK. p. 29. Annemaries Giftermaal, som dannede Afløsningen, er lokaliseret af Anker Larsen og Paul Sarauw efter Fonsons og Wichelers meget omtalte Frk. Beulemans' Bryllup
  74. Danske dramatikeres forbund (1916). "ANKER JOHANNES LARSEN". In Jantzen, Ivar (ed.). Danske dramatikere: en fortegnelse udgivet af Danske dramatikeres forbund over medlemmernes arbejder (in Danish). Copenhagen, DK: J. Jørgensen & Co. pp. 65–66. Oversættelse: Anne Maries Giftermaal. Folkekomedie i 3 Akter af Frantz Fonson og Fernand Wicheler. Bearbejdet og lokaliseret. (I Samarbejde med Paul Sarauw.) Opført 1ste Gang 3. November 1912 paa Folketeatret. Opført i de danske Provinser.
  75. ""O casamento da senhorita Beulemans", no Cinema Rio" (PDF). O Imparcial - Diário Illustrado do Rio de Janeiro (in Portuguese) (267). Rio de Janeiro, BRA: Companhia Brasileira de Publicidade (São Paulo). August 28, 1913. p. 9 – via Coleção Digital de Jornais e Revistas da Biblioteca Nacional. O grupo de artistas que está trabalhando no Cinema Rio, de Nietheroy, deu ante-hontem a première da comedia en tres actos, de Franz Fanson e Fermando Wicheler, traducção de Renato de Castro, O casamento da senhorita Beulemans.
  76. "Annuncios" (PDF). A Illustração Brazileirá (in Portuguese) (103). Rio de Janeiro, BRA. September 1, 1913. p. 25 – via Coleção Digital de Jornais e Revistas da Biblioteca Nacional.
  77. Polgar, Alfred (January 22, 1914). Jacobsohn, Siegfried (ed.). "Wiener Premieren" (PDF). Die Schaubühne (in German). Vol. X no. 4. Berlin, D. p. 104. Lustspieltheater: „Schwechater Lager“, eine Komödie in drei Akten von Fonson und Wicheler, deren Original in Paris unbändigen Erfolg gehabt haben soll. Auch in der geschickten und taktvollen wiener Bearbeitung (die das soziale Milieu des Stückes um mehrere Grade tiefer setzt), merkt man noch, daß, es sich da um eine qualifizierte Arbeit handelt.
  78. Etzlstorfer, Hannes; Ruhm, Franz Karl (March 21, 2014). "Dezember 1913". Tafeln mit dem Kaiser: Alltag und Geschichte rund um das Schönbrunner Menübuch von Mai 1913 bis Januar 1914 (in German). Vienna, AT: Verlag Kremayr & Scheriau. pp. 161–184. ISBN 9783218009225. Das vergnügungssüchtige Wien bot an diesem Silvestertag einmal mehr einen Reigen unterschiedlichster Vorstellungen, der von Puccinis La Bohème in der Hofoper und Raimunds Zaubermärchen Der Verschwender zu Offenbachs Operette Orpheus in der Unterwelt in der Volksoper bis hin zur Komödie Schwechater Lager von Franz Fonson und Fernand Wicheler im Lustspieltheater reichte.
  79. Antropp, Theodor (1914). "Wiener Theater". Österreichische rundschau (in German). Vol. XXXVIII. Vienna, AT: Carl Konegen. p. 138. Was da als „Schwechater Lager“ verabreicht wurde, soll zwar in Paris unter dem Titel „Le Mariage de Mademoiselle Beuleman“ unbändig gefallen haben. Wie sich das Stück der Herren Fonson und Wicheler in der lokalen Bearbeitung des Lustspieltheaters darbietet, unterscheidet es sich Kaum von irgend einer Wiener Normal-Posse, weder in den heiteren Situationen, noch in den sentimentalen Hemmungen.
  80. Erkko, Eero, ed. (May 23, 1914). "Kirjallisuutta ja taidetta". Helsingin Sanomat (in Finnish) (138). Helsinki, FI. p. 5. ISSN 0355-2047 – via Digitaaliset aineistot - Kansalliskirjasto.
  81. Krohn, Helmi (1914). "Katsauksia Kansallisteatterin näytäntökauteen keväällä 1914". Valvoja (in Finnish). Vol. 34. Helsinki, FI: Helsingin uusi kirjapaino. p. 371. Kevätkauden viimeinen uutuus oli ranskalais-belgialainen huvinäytelmä »Kunnia-esimies Beulemans», jossa niinikään herra Lindfors esitti pääosaa. […] Susannella on kappaleessa keskitetyin asema — näytelmän alkuperäinen nimi onkin »Le mariage de m:lle Beulemans» — je tämän tärkeän tehtävän neiti Horsma suoritti erittäin näppärästi.
  82. Koskimies, Rafael (1953). Suomen kansallisteatteri 1902-1917 (in Finnish). 1. Helsinki, FI: Otava. p. 446. OCLC 58067240. Kunnia-esimies Beulemans F. Fonson ja F. Wicheler 20.5.-14
  83. Parreiras, Assis, ed. (April 1915). "Recordando o passado". Ecco Artístico (in Portuguese). Vol. 101—150. Revista de theatros e Música. Lisbon, PT. p. 10. Avenida. — Na noite de 10 deu-se n'este theatro a primeira representação da peça belga de Fonson e Wicheler, O casamento da menina Beulemans, traduzida por Accacio Antunes.
  84. Altuniş Gürsoy, Belkıs (1996). "KAYSERİ GÜLLERİ". Hüseyin Suad Yalcın ve Eserleri (in Turkish). Ankara, TR: Gazi Üniversitesi Fen-Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü. p. 308. ISBN 9753383584. Hüseyin Suad'ın Münir Nigar ile birlikte Belçikalı Frantz Fonson ile Fernand Wicheler'den adapte ettiği bu eser üç perdelik bir komedidir. Eserin orjinal adı Le Mariage de Mlle Beulemans'dır. 23.3.1918'de Darulbedayi oyunculanı tarafmdan Tepebaşı Kışlık Tiyatrosu'nda oynanan bu, eser, 1920'de yine ayın topluluk tarafından tekrar sahneye konur.
  85. Suâd Yalçın, Hüseyin; Nigâr, Münir (April 27, 2016). Kılıç, Atabey (ed.). KAYSERİ GÜLLERİ [Roses of Kayseri] (in Turkish). Kayseri, TR: Mehmet Çelebi. ISBN 9786059965514.
  86. Högman, Ernst; Theorin, Ebba (October 2, 1921). "Kvällar på parkett" (PDF). Idun (in Swedish). No. 40 (1812). Stockholm, SE. p. 932. Blancheteaterns tyska nyhet "Rena sanningen", måste avföras från repertoaren efter andra föreställningen, medan Södra teaterns nya folklustspel "Ann-Sofis giftermål", belgiskt original av Frantz Fonson och Ferdinand Wicheler, roligt bearbetat av Algot Sandberg, på premiären vann en avgjord framgång.
  87. Humanistiska fakulteten, Umeå universitet (1982). "FONSON, FRANTZ/WICHELER, FERDINAND". Teater i Stockholm 1910–1970 (PDF). Umeå Studies in the Humanities (in English and Swedish). 3. Forskningsprojektet Dramatik på svenska scener 1910–1975. Stockholm, SE: Almqvist & Wikseil International. p. 43. ISBN 91-7174-104-6. ISSN 0345-0155. ANN-SOFIS GIFTERMÅL 24/09 1921 Södra Teatern
  88. Georger, J. (1954). Sittler, L. (ed.). "Théâtre, musique et conférences à Colmar en 1952–1953". Annuaire de la Société historique et littéraire de Colmar (in French). IV. Colmar, F: Imprimerie et Edition des Dernières Nouvelles de Colmar. p. 166. ISSN 0766-592X. OCLC 472061390 – via Gallica. Avant de quitter le domaine du théâtre, nous devons encore faire mention de l'activité méritoire du « Théâtre Alsacien Colmar » qui donna trente représentations dont cinq à l'extérieur. Son répertoire se composait des pièces suivantes… « D'Hochzitt vo dr Mamsell Martischang » de V. Schmidt (d'après « Le Mariage de Mademoiselle Beulemans »).
  89. Wynants, Jean-Marie (April 2, 1997). "Allez, perke, on y retourne!, "Le Mariage de Mademoiselle Beulemans", increvable succès de Fonson et Wicheler, est de retour". Le Soir (in French). Brussels, B. ISSN 1375-5668.
  90. Duchene 2018, p. 9.
  91. Duchene 2018, p. 11.
  92. Duchene 2018, p. 13.
  93. Aron 1995, p. 68.
  94. Gubin, Éliane; Jacques, Catherine; Piette, Valérie (2006). "LENAIN Christiane (1935-1999)". Dictionnaire des femmes belges: XIXe et XXe siècles (in French). Brussels, B: Éditions Racine. pp. 366–367. ISBN 9782873864347.

Bibliography
  • Emond, Paul. Commentaires (volontiers bavards mais plutôt bien documentés) autour d'une pièce à succès. Brussels, B: Espace Nord; September 3, 2015. French. ISBN 9782875680631. p. 322–356.
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