Exclusive Dorothy LeMay Store|
DVD Store "Dorothy LeMay"
DVDUniverse Dorothy LeMay products link
Dorothy LeMay Biography
Aliases: Dorothy La May, Dorothy Le May, Dorothy Lemax, Dorothy Young, Laurie Jones, Norma Gene
Date of Birth: December 14th, 1953
Birthplace: Los Angeles, California
Assumed Aliases: Norma Gene | Dorothy Young / Lemax | Laurie Jones
Height: 5' 7" Weight: 121 lbs Waist: 25 Hips: 34
Eye Color: Blue Hair Color: Blond Breast: 34C
Porn Star Dorothy LeMay first hit hardcore screens way back in the mid-1970's, appearing in flicks like 'Female Athletes' and 'Bad Company,' where she was little more than a hard-working supporting player. It wasn't until the dawn of the 80's that Dorothy LeMay really hit her carnal stride. But once Dorothy LeMay found her erotic niche, she became one of the all-time fan favorites.
Dorothy LeMay was a busty little vixen with a curvaceous, scrumptious figure and a pretty, wide-jawed face that seemed to exude sexual longing. Dorothy LeMay was a very good actress who could handle any role that porn threw at her. Dorothy LeMay first hit the big time with her tour-de-force performance in 1981's 'Nightdreams,' a very strange film involving a sexually frustrated wife's erotic fantasies coming to life. Dorothy LeMay was called on to carry the film, appearing in every sex scene. Dorothy LeMay not only pulled it off, but she crafted one of the best erotic performances of the decade.
Dorothy LeMay's fame soared, and she grabbed roles in such erotic classics as 'Taboo,' 'Taboo II,' and 'Talk Dirty To Me.' Dorothy LeMay retired from the business in 1982, having starred in just over 30 features. Any one of them is a good chance to catch one of the most believable, refreshingly natural erotic talents in porn history.
Dorothy LeMay performed in sex flicks from the late '70s to the early '80s.
"I have my own life," says Dorothy, "that I try to keep apart from making adult movies, but I do enjoy them when the right offers come my way....The right kind of people making the right movie, the right money, and a good script. People have to treat me well and I don't do loops anymore.
"I enjoy movies more than loops because movies involve more acting and I have to put more out. Whereas a loop has hardly any story line and it's mostly silly if there is one. It's just fast sex."
Dorothy feels excited when she first arrives on a set. "I like to get crazy. I enjoy seeing people and I enjoy what I do. Even in my first loop, I was never self-conscious about the camera though I wasn't used to the angles.
"In 1976 I worked at the University of California at Berkeley. I answered an ad in their Berkeley paper that said "make $300 a day." So I went on an interview with my husband of that time and we started doing loops.
"John Seeman helped me start. He knew the right people to send me to, though my first movie was a disaster. Formal Faucet. It was gross and I ran out of the theater crying after I saw it. They had cut the film and were using someone else's voice and they weren't the words coming out of my mouth. It didn't make sense. That experience almost made me get out of the business. Also the filmmakers worked me 18 hours a day for three day.
"My second movie, Sensual Encounters of Every Kind, was done by Harold Lime. It turned my head around. He paid me twice as much as I was paid for the other film and he was nice to me. That was the first time I worked with John Leslie. We did a hot, hot sauna scene." (Adam 1/83)
Dorothy left the biz after Nightdreams. "I had just broken up with Ernie who I met during High School Memories. I had my first lesbian affair because I hated Ernie. I had a good job at ABC Messenger Service in LA, so I decided to cool out from the business for a while.
"My family doesn't know about my erotic career. My mother knows I was in 10 for ten seconds in the nude scene. My sisters and brothers went to see it and they came home and called me long distance at two in the morning, and said, "Dorothy, you're sinning."
"We were supposed to film  for two days, but the weather wasn't right, and Blake Edwards [the director] didn't work if the conditions weren't to his liking. But we got paid anyway. And we'd [a group of porn stars recruited for a nude scene in 10] get crazy in our Culver City hotel room. Annette Haven had her leather party one night and room service walked into it. Jamie Gillis and Serena were there. Craziness. The hotel management didn't like us after that and we didn't get any more room service.
"It seems like every time I do a film, I haven't had sex for like a month before. So when people call me, I say yes [breathlessly]. I know it's going to be good sex. I get off on cameramen. I've dated a lot of them.
"I'm a faithful girl when I love somebody. So I only indulge in outside sex when I'm filming. That's why I'm so happy to be in this business."
Dorothy's favorite movie is Nightdreams. "I dated the gaffer after that one. He was a neat guy who made it fun for me to do the movie. And the people who made the movie were nuts."
She sucks off a black man wearing a giant Cream of Wheat box. "That guy apparently had never had a blowjob and he was 26. He was married and I don't know why his wife wouldn't get into that. He was nervous and he had to drink whisky before the scene. And he was swerving the box so they laid him down of the floor. [Which didn't deter LeMay from pipecleaning.] That was my first time working with a black guy. It wasn't something that I didn't want to do. I had just never met one in that situation.
"Annette Haven and I worked together at the Mitchell Brothers [O'Farrell Theater] for a week. Annette took this big dildo and stuck it in me, and I said, "Annette, you have no mercy." We'd come in softly and she'd go offstage. I would be laying there and the music would hit a hard beat and she'd come out in her leather stuff. It was fun until she was pulling a string of balls out of my vagina, and she pulled hard and one was left inside me. I got hurt and I couldn't perform the last day. Annette can get mean she's playing that role and she means it." (AFW)
CINEMA SEWER MAGAZINE
Born Dorothy Staton Adler in 1958, and raised in Dayton Ohio, Dorothy LeMay married right out of high school and moved with her husband to San Francisco in 1976. While working at a desk job at the University of California in Berkley, she answered an ad Harold Adler (no relation) placed that read “Make movies, make $300 a day”, and Adler’s agency quickly lined her up as a Farrah Fawcett look-alike in a film called A FORMAL FAUCETT. (Tagline: “She’s got all the right plumbing!”)
“(Harold) set it up for me to meet Fred Lincoln, who was doing the film”, Lemay told a porn industry reporter in 1982. “It was traumatic because I didn’t know what was going on. We shot during a weekend and the days were about 20 hours long. I made $150 a day, for 2 days. At least it was better than working in an office, though.”
A rude awakening was in order when Dorothy ventured down to her local smut palace to see her big screen debut. She ended up running out of the theater in tears after witnessing what she later called "a disaster", and “gross”. It wasn’t the sex that upset her, she had been horrified that her voice had been dubbed over with someone else's, and that it "didn't make sense".
From there she did a few loops for the SWEDISH EROTICA series, as well as some generic fucky-sucky for Diamond Collection and Pleasure Productions. Then live sex shows for Alex DeRenzy at the Playpen club in San Francisco (before it became a gay bar), as well as an infamous week having Annette Haven cram orange balls up her ass on stage at the Mitchell Bros. theater. “I was sore as hell after the sixth day of that” Lemay confided years later. “I couldn’t go on. Annette took this big dildo and stuck it in me, and I said, "’Annette, you have no mercy’"
Smaller roles in feature XXX films, such as BLONDE FIRE, FEMALE ATHLETES, and SENSUAL ENCOUNTERS OF EVERY KIND came along. But the trudge of fucking on camera and not having anyone really notice or pay you a decent wage got old mighty fast for this pale-skinned feather-haired redhead. After shooting wrapped on HIGH SCHOOL MEMORIES (where she played a nympho cheerleader) Dorothy gave her pussy a rest, started dating a gaffer named Ernie she met on set, and got herself a straight boring job at ABC Messenger Service in Hollywood.
“I had my first lesbian affair because I hated Ernie,” she told Adam magazine.
Two years later, in 1981, Dorothy got a call from Steven Sayadian (aka Rinse Dream) and Jerry Stahl. The two friends had teamed up and decided to make a porn movie with a weird art-house psychological twist, and while watching TEENAGE FANTASIES, had decided they had to find and cast Dorothy as “Mrs. Van Houten” in NIGHTDREAMS. She brought the noise, and crafted one of the best erotic performaces of the decade. The role catapulted her from second-bill obscurity into porno superstardom.
“Annette Haven turned it down. I was the second choice”, Dorothy admits.
LeMay wasn’t the only one launched into the spotlight with NIGHTDREAMS. Sayadian would go on to make 1985’s CAFE FLESH (generally considered to be the last great classic porn film before the video era), and Jerry Stahl became perhaps the most successful individual spawned by the 80s porn scene. He would write episodes of MOONLIGHTING, ALF, and then become the head writer of CSI -- with his transgressive kinky episodes getting the highest ratings for (what is as of this writing) the most watched television show on earth. His autobiography PERMANENT MIDNIGHT was made into a film starring Ben Stiller.
Dorothy LeMay wouldn’t find any such lucrative success after NIGHTDREAMS, but she was one of the most genuinely happy, healthy, and horny females of her era in XXX. The following are highlights of an interview she did with Jim Dawson of Velvet Talks soon after the weirdness that was NIGHTDREAMS captured the industry’s attention.
JD: Dorothy, what is your favourite kind of sex?
LeMay: My favourite position is doggy style. I love it. [Lowers Voice] LOVE it. And I like getting head. People tell me I roll my eyes. That’s what I’m known for.
JD: Like when you roll your eyes into your head when you suck cock.
LeMay: Yeah! [Laughter]
JD: Have you always had an active sex life?
LeMay: Well, in high school it was terrible. I was shy and innocent. I’m still innocent, but I’m nothing like I was then. I went with a guy for four years and I never knew what a clit was. My boyfriend would accuse me of masturbating, and I’d say: ‘What’s that??’. Later I married a guy and moved out to California from Dayton. Sex was ok between us, but I never came. We got into a lot of kinky sex, went to sex movies, messed around in peep show booths, and stuff like that, but I never got off. Then after three years of marriage he initiated an orgy, and this girl went down on me -- the first girl I’d ever had sex with. And she made me have an orgasm! That really turned my head around. After that I started telling my husband what I wanted, what felt good.
JD: FORMAL FAUCET was your first foray into the porn business?
Lemay: Yeah, it wasn’t until CHOPSTICKS that I decided that I really liked making films though. And TROPIC OF CANCER with John Holmes, I made that in October of ‘78. Georgina Spelvin was a great to me on that movie. I had always just read over my lines and practised them myself, but Georgina said ‘Let’s go upstairs and go over this scene together’. She taught me to put inflections on certain words. When that film came out, people started telling me ‘Hey, you can really act!’. But Sam Weston [director Anthony Spinelli] really got me into acting on VISTA VALLEY PTA. Before that, I had never really cared. He took me aside and told me ‘You should say it this way,’ and I did exactly what he said and it turned out nice.
JD: Who are some of the people who you’ve had difficulty working with?
Lemay: One girl I didn’t like working with -- she’s so COLD -- is Desiree Cousteau. She is cold. When I’m doing a sex scene and the cameras turn off, I like to continue what I’m doing because I’m enjoying myself, and I want to keep the flow going for the next shots. I was working with Desiree on... I think it was FAUCET... and the cameraman said cut, and I continued eating her pussy. She pushed me away! I said ‘Ok, if that’s the way you want it’, but for the rest of the scene I was disturbed by that. I don’t work that way. I thought it was cold of her to do that.
JD: Anyone else?
LeMay: Jesse Adams was also difficult. He’s a tall, blonde actor I did a loop with, and he’s really big. I mean his cock. We’re fucking and I told him ‘You’re hurting me’, cause he was just ramming inside me. He wouldn’t listen to me. So finally I moved around in another position just to get his cock out of me, and I started giving him head. And he screamed at me. Told me I wasn’t doing it right. He crammed it down my throat. I was gagging. He got me so upset that I started crying.
JD: Rinse Dream said you had trouble with the black actor on NIGHTDREAMS.
LeMay: Oh yeah, the Cream of Wheat scene. I wasn’t too crazy about that scene at first because I’d never worked with a black guy before. It wasn't something that I didn't want to do. I had just never met one in that situation. Rinse told me before we shot it that this guy had never had a blowjob before. I said ‘Well, I’ll have to meet him and get him relaxed.’ Well, when I met him he was totally bombed. the scene actually went very well. He got it up and everything. But when we tried for the cumshot, it didn’t happen. We worked on it for about two hours and then I told him to just forget it.
JD: Do your folks back home know what you do?
LeMay: My mom doesn’t. But I was in that movie 10 for about ten seconds, in the scene where Dudley Moore walks through the nude party. My brother and my sister-in-law and her family went to see it. They’re born again Christians, and they got up and walked out when they saw me. I got this frantic call at 2 in the morning from Dayton, and my brother said ‘What have you done?! It’s a sin!’. So I called my mom and told her that I’d done it of my own free will -- nobody forced me to do it -- and that I was paid well for doing it. And she didn’t mind at all as soon as she knew that I hadn’t been forced. But I don’t know how she’d react to my porno films. I’m sure she’ll find out someday. My brother knows. One of his friends saw one of my loops and told him, so he went to the peepshow to see it.
JD: Has making porn films changed your sex life?
LeMay: Oh yeah. More now than ever I’m letting it all out. I’m doing all my fantasies. I’ve always had the fantasy of fucking out in the open, and I fucked a guy in an underground parking lot. I also gave head to a guy in an airplane. I just reached over and started playing with his cock. I’d never seen him before, and I haven’t seen him since. I also want to strap on a dildo and fuck some guy in the ass, the way Loni Sanders fucks my pussy in NIGHTDREAMS. I want to get tied up more, too. I like it when a guy ties me up and brings me right to the point of orgasm and stops, over and over. I love it! This guy I’m fooling around with right now has got a foot fetish. The other day he came all over my foot, and I came the moment his jism spurted on my toes -- I’d never done THAT before. I’ll do anything -- unless it’s in front of a police station.
Retiring in 1985 after an 8 year tenure in adult, today Dorothy is best remembered for her role as the horny sister Sherry McBride in the incest -themed XXX classics TABOO (1980) and TABOO II (1982).