Dolly Sharp

🛑 ALL INFORMATION CLICK HERE 👈🏻👈🏻👈🏻

Dolly Sharp
Much has been written about the film ‘ Deep Throat ’ since it premiered in New York in June 1972.
You know the story… the film spawned the ‘porno chic’ phenomenon, turned Linda Lovelace and Harry Reems into overnight stars, and broke box office records. Its cultural significance was debated by academics, Linda Lovelace’s alleged mistreatment was highlighted by feminists, and a landmark court case was fought in Memphis.
But even for us at The Rialto Report , it’s a tired old tale.
Surely there’s nothing left of interest, no stone unturned?
In fact, we think that the most interesting ‘Deep Throat’ story has yet to be told.
Forget Lovelace and Reems, the trials and the mob, and the paralysis of the cultural analysis.
We wanted to know about the mysterious Dolly Sharp who portrays Linda’s friend ‘Helen’ in the film. Who was she? Where did she come from? And why did she disappear shortly after the release of ‘Deep Throat’?
For the last ten years, The Rialto Report has searched for answers about Dolly Sharp and her life.
Now, for the first time, her surprising and remarkable story is revealed.
It’s another weird and wonderful story from the world of 1970s adult film. It’s another Rialto Report.
Biographical note: As of December 2014, many online sources, such as IMDB, show one record for the actress ‘Helen Wood’. In reality these sources are conflating two different people’s lives and filmographies. One was born in Tennessee in 1917. The other actress is the focus of this article.
_______________________________________________________________________________________________
For once Helen Wood was pleased with herself – which was unusual for such someone as tough and uncompromising as she was.
New York was cold and unforgiving at this time of year, and she’d jumped at the chance of leaving the city for a couple of weeks, and getting paid for it too.
She’d been making adult films and loops on and off over the previous year, and this was the first time she’d heard of a New York sex film that was shooting in Florida. So she secured acting roles for herself and her boyfriend, and they drove down to Miami to have a cheap vacation once the shoot was over.
And right now she was in the Voyager Inn, a fleabag motel on Biscayne Boulevard, north of South Beach in Miami. She was disrobed, and positioned on a counter top in a kitchen whose wallpaper was as lurid as the film’s script. As usual she was ready before anyone else so she sat there waiting for the crew.
Helen was a disciplined person. Rigid and focused. Professional. Some said cold, aloof, and distant.
She was also devoid of sentimentality. In moments like this, she didn’t allow herself to think back to her time on Broadway, where she’d been acclaimed as a prodigious dancer.
Or her time in Hollywood, where she was a contract girl for Twentieth Century Fox and starred in a major studio picture with Debbie Reynolds and Bob Fosse.
Or her time in Vegas, working on the Strip with Liberace , Sammy Davis Jr , and Louis Prima . “These are the golden years” Sammy had told her. “Enjoy them while they last”.
Right now she was in Miami, about to have sex on film, and would do the best job she could. As always.
Gerry Damiano , the film’s director, appeared from nowhere and called out. “Dolly, are you ready for your scene?”
Helen looked up. “I’m always ready,” she said.
When ‘ Deep Throat ‘ hit big after its release in June 1972, the lives of those involved were never the same.
Linda Lovelace became America’s first porn star celebrity before turning into porn’s first victim, co-opted by feminism as human proof of porn’s damaging effect on women.
Harry Reems ’ dreams of a mainstream acting career died overnight, and to make matters worse he was then put on trial in Memphis with assorted mobsters, accused of conspiracy to transport obscene material across state lines; he was adopted as a symbol of artistic freedom by the Hollywood liberal elite before being dropped just as quickly.
Gerry Damiano , spent the rest of his life making pornography and looking over his shoulder fearing the return of the connected men that had threatened his life after ‘Deep Throat’.
But no one knew much about the film’s supporting actress, Dolly Sharp.
Over the years, I quizzed everyone who had crossed paths with her during her stint in adult films. Jamie Gillis , Harry Reems , Ed Seeman , Jason Russell , Gerry Damiano , Fred Lincoln , Eric Edwards , crew members, and friends.
Everyone remembered her vividly. And yet no one knew anything about her.
All of the stories were near-identical. Dolly was an older woman, probably in her late 30s. Her hard and severe features weren’t unattractive, but she looked like she’d wandered onto set from a bygone Lucille Ball-era. Her body was lean and strong like that of an athlete, and she was surprisingly supple and limber, capable of putting her both feet behind her head at the same time – always useful on a porn film set.
She would turn up with a folded chair, a small dog, a portable TV, and a bag of knitting. She kept to herself and rarely spoke to anyone.
Where did she come from? Everyone had a theory. She was a bored housewife. She was a sexually-starved swinger with a rich husband. She was an ex-con who couldn’t find regular work.
Actress Tina Russell wrote in her autobiography ‘Porno Star’ (1973) that Dolly was a Long Island hooker, hustling for cash in go-go bars – which she spent on wigs and plastic surgery.
Harry Reems’ autobiography described her as a failed artist, ex-violinist, ex-ballet dancer, ex-go go dancer, and bit part movie actress.
Back in the early 1970s, several journalists looked for Dolly Sharp, but their search was in vain; by the time ‘Deep Throat’ became a success, she’d split. Fearful that her role in the film would be exposed, she’d fled New York never to return.
Dolly Sharp was born Helen Wood on April 25th 1935, in Port Arthur, Texas.
Her Irish father, Michael, was a seaman who skippered a tanker, The Gulflube, which traveled between Port Arthur and Philadelphia. The long absences from her father resulted in close bonds with her German mother, a tough, demanding woman with exacting standards. After Helen underwent an early back operation, her mother decided that Helen needed to strengthen her core, so she enrolled her two year old daughter in Florence Coleman’s dance studio in town. Helen had a natural talent and progressed fast.
Then she picked up a dime store tin violin and showed such an uncanny feel for the instrument that her mother bought her a real one and invested in regular lessons with local teacher Alice Kent. Soon Helen was playing in county fairs and in state variety shows. Once when she was six, Helen appeared in Beaumont and renowned violinist Jascha Heifetz saw her play. He offered Helen a lesson and was amazed by her natural talent. He declared “Ms. Wood is destined to become a quite brilliant concert violinist”. He recommended to Helen’s mother that she move the family to New York where she could enroll Helen in the prestigious Juilliard School of Music .
Another big name who was impressed was Jan Garber , a jazz bandleader known as “The Idol of the Airwaves” at the time. He signed the eight year old Helen to appear as the special attraction of his band; she was billed as ‘Helen Wood – The Child Prodigy – The Triple Threat’, on account of her ability to dance, sing and play the violin, and she toured with the band for a few months.
Helen’s mother made sure that her daughter’s skills were showcased in performances across the state. She started to be called ‘The Texas Tornado’ on account of the speed of her twirling dancing. Neighbors remember Helen’s dedication and her constant practice in front of her house (shown on right) at all hours of the day and night.
Eventually when Helen was twelve, her mother took Jascha Heifetz’ advice and moved the family to New York where Helen and her sister were enrolled at Juilliard . The technical standard of the school was much higher than anything that Helen had experienced before, and she found herself having to re-double her efforts and re-learn much of her technique.
To help fund the trip, Helen’s mother took her to the Conover Model Agency – then known as one the ‘Big Three’ largest in the U.S. The agency owner Harry Conover had worked with many top stars like Rita Hayworth , and when he saw Helen’s photographic portfolio he took out trade ads declaring that she was his No.1 junior model. Soon Helen was in demand as a teenage clothing model earning $10 an hour for her efforts – good money at the time. She was disdainful of the work however. Modeling was not a job that required much talent or effort and she ached to return to performing.
Helen Wood (left) in an early modeling picture (c. 1948)
Apart from the violin and singing classes at Juilliard, Helen also attended classes at Lee Strasberg’s Actor’s Studio, and studied dance at Agnes de Mille ’s Ballet Theater.
It was at the latter that de Mille spotted Helen’s talent and signed her for her debut role on Broadway as a dancer in ‘ Gentlemen Prefer Blondes ’.
‘ Gentlemen Prefer Blondes ’ opened at the Ziegfeld Theater in December 1949 and starred Carol Channing . This was four years before the release of the film version directed by Howard Hawks and starring Jane Russell and Marilyn Monroe , and it was a huge hit. The New York Times described it as a “vastly enjoyable song-and-dance antic put on with humorous perfection… every part of it is alive and abundantly entertaining”. Despite her small role, Helen was catapulted into the limelight granting interviews and appearing in magazine photo spreads. Gossip columnist and Broadway chronicler, Earl Wilson, featured her frequently in his column.
Helen was 14 when ‘Gentlemen Prefer Blondes’ opened, and was still nominally enrolled in Thomas Jefferson School in Port Arthur (the same school as Janis Joplin , who was eight years younger). In practice she did school work in New York between rehearsals and performances on Broadway. She did well academically – even though her studies took an inevitable back seat to her increasing success.
It was a busy schedule; Helen was still studying at Juilliard, modeling, and had also started making appearances in television shows – from soap operas to dramas and commercials. She first showed up as a dancer in Eddie Cantor ’s new TV show ‘Comedy Theater’ in September 1950, and then in a TV version of ‘No! No! Nanette!’ in March 1951 featuring Jackie Gleason .
She told one interviewer, “I’m 15. That means I still have to attend a professional children’s school three hours a day. Besides that, I take dancing lessons four hours a day, and violin and singing lessons twice a week. Then there are the eight shows a week plus the special rehearsals too”.
Everyone who knew her remembers her talent but also her single-minded dedication and discipline. She was obsessed with the notion of perfection, and pursued it obsessively in everything she did.
After over a year in ‘Gentlemen Prefer Blondes’ she moved to a more prominent role in the new musical ‘ Seventeen ’ that was being produced by comedian Milton Berle . Rehearsals started on April 27th, 1951 and lasted a month before two weeks of previews opened on May 24th.
‘ Seventeen ’ opened on Broadway at Broadhurst Theater in June 1951 and it was covered extensively in the New York media. Helen’s performance immediately won plaudits, and she was described by one critic as having a “scintillating presence”. Though the musical wasn’t as big a success as ‘Gentlemen Prefer Blondes’, Helen’s star was in the ascendant.
Helen Wood (right) in rehearsals for ‘Seventeen’ (1951)
Despite her young age, Helen’s strong character came to the fore when she and several of the other actors recorded the soundtrack album – but received no pay. Under Equity rules, actors were entitled to one week’s salary for each day engaged in the recording of a cast album, so Helen and her fellow actors threatened Milton Berle and the other producers with legal action, eventually winning $3,450 each for their recording work.
Helen Wood as ‘Emmie’ in ‘Seventeen’ (1951)
‘ Seventeen ’ ran for five months, and by the time it closed in November 1951, Helen had been hand-picked for one of the most eagerly anticipated new openings of 1952, a revival of the Rogers and Hart musical ‘ Pal Joey ’ starring Vivienne Segal , Lionel Stander and Elaine Stritch .
‘ Pal Joey ’ opened to great acclaim at the Broadhurst Theater (the same location as ‘Seventeen’) in January 1952. The New York Times reported that it “renews confidence in the professionalism of the theater”, and the production went on to win several awards at the annual Tony ceremony.
Extract from the ‘Pal Joey’ Playbill (1951)
Even better for Helen was the individual praise directed her way. The New York Times called her “an excellent dancer”, and the Brooklyn Daily Eagle noted, “Helen is a lovely youngster with excitement in her dancing – she’s bound to go places”.
In January 1952, Helen made her first appearance on the ‘ Ed Sullivan Show ’, which at this point was still called ‘Toast of the Town’. Ed Sullivan ‘s show was straight out of old vaudeville featuring brief acts of every description, from slapstick comedy to operatic arias. Stiff and expressionless, with a peculiar voice and a talent for mispronunciation, Sullivan was an unlikely but successful host and he took an immediate liking to Helen. She would appear three more times on the show over the next two years, culminating in a guest appearance in October 1953 with boxer Joe Louis and singer Guy Mitchell .
That year she won a prestigious Theatre World award for being one of the twelve ‘Most Prominent Stage Personalities of 1952’. A fellow winner that year was Audrey Hepburn for her role in ‘Gigi’. The twelve award winners were given plaques at a glitzy reception at the Algonquin Hotel.
‘Pal Joey’ lasted over a year, during which time Helen graduated from high school. It was reported that she received graduation presents and flowers from many of the casts and crews that she’d worked with who’d helped her with her school work over the years.
Helen receives her diploma from the principal of the School for Young Professionals (1952)

 In June 1952, Helen was enticed away from ‘Pal Joey’ to join a new stage show at the Roxy Theater – a leading New York showcase that combined the latest Hollywood films with highly rated stage variety shows. The Roxy engaged many noted performers of the era, including singers, comedians, classical ballet dancers, even the New York Philharmonic.
For Helen it was the chance to stretch herself creatively and choreograph her own routines for an audience for the first time. She immediately impressed – but her engagement only lasted a few months: Hollywood came knocking.
Helen debuts in the new Roxy show (1952)
In September 1952, 20th Century Fox offered Helen a seven year contract.
She was 17, and due to the fact that she was underage, the contract had to be approved by a Santa Monica court first. The court obliged specifying only that Helen had to set aside 20% of her earnings in savings bonds.
The contract itself offered her $500 a week which would increase to a maximum of $2,000 if the studio exercised all its options on her.
20th Century Fox’s first decision was to loan Helen out to MGM who were looking for a lead in their highly anticipated musical ‘ Give A Girl A Break ’. Helen auditioned and won the part, and flew to the MGM Studios in Culver City, California for the production.
On the face of it, ‘ Give A Girl A Break ’ (1953) had all the signs of being a huge success.
MGM was synonymous with musicals, and this one was to be directed by Stanley Donen , fresh from his huge hit the previous year with ‘ Singin’ In The Rain ’ (1952), and featured music by Ira Gershwin and Andre Previn . It starred Debbie Reynolds , Marge Champion and Helen as three aspiring dancers competing for the lead in a new Broadway musical.
Marge Champion, Helen Wood, Debbie Reynolds in ‘Give A Girl A Break’ (1953)
The production however was troubled from the start, and Helen walked into a storm of conflict and arguments. Donen had decided to make major changes to the script after the shooting had started, and the result was open warfare between Donen and two of the film’s stars, Debbie Reynolds and Marge Champion . Both believed that their roles were being reduced in favor of supporting actor/dancer Bob Fosse, and the fights split the cast and crew. In the end the studio sided with the Reynolds and Champion, and ordered reshoots; the lead dancers had their starring roles restored.
Helen appeared in a number of scenes, her ballet and jazz dancing contrasting with the more style dancing of Reynolds and Champion.
Helen Wood in ‘Give A Girl A Break’ (1953) (Helen’s sequence starts at the 1.24 mark)
The troubled set meant that the film had attracted negative publicity even before its completion, and MGM lost faith in the production. In the end studio executives premiered the film quietly in Brooklyn in December 1953 rather than the bright lights of Manhattan.
‘ Give A Girl A Break ’ was not well reviewed upon release; the Monthly Film Bulletin referred to “a very lightweight story… and as a result the film tends to drag”. Pauline Kael wrote, “it is an unusual MGM musical in that it is modest, but it is so modest that it has no particular flavor or distinction”.
Helen Wood, Kurt Kaszner in ‘Give A Girl A Break’ (1953)
According to MGM records the film cost almost $2 million, and only earned $772,000 in the US and Canada, and $506,000 elsewhere, resulting in a loss.
Despite the film’s initial reception, it’s reputation has grown over the years, and it’s now recognized as one of the best lesser-known musicals that MGM ever made.
Newspaper listing for ‘Give A Girl A Break’ (1953)
Not that this helped Helen though. Her first Hollywood film had been a flop. Whilst she waited for 20th Century Fox to show signs of interest in her, she returned to Broadway in late 1955 to take a lead part in the musical Delilah , but more bad luck ensued as her part was cut out during the tryouts.
Helen’s name still guaranteed big offers, and her next stop was Texas where she starred to some of the biggest audiences in her career in the State Fair Musical production of ‘Can Can’, receiving rave reviews.
Helen Wood returns to Texas for ‘Can Can’ (1956)
It was also the time when Las Vegas was attracting the big names, and so Helen moved there to work in a series of shows on the Strip. Many stars, such as ‘Give A Girl A Break’ co-star Debbie Reynolds , were featuring in variety spectacles there; it was the early days of the rat pack, and Las Vegas was full of dancers, comedians, showgirls, and singers.
In 1955 Helen opened the New Frontier as the main support for Liberace , and footage from the first night shows her name in lights. In 1956 she appeared at the Riviera , with Dinah Shore and Marie Wilson included on the bill, and again with Liberace in 1957.
Liberace, Helen Wood star at the Riviera (1956)
Off stage she was just as popular and counted many of the stars as friends; she was close to bandleader Louis Prima , singer Keely Smith , and Sammy Davis Jr. with whom she did a short-lived act. Sammy told her that she was the only white dancer that he’d ever seen that moved with real soul. The local newspapers linked Helen romantically with a number of performers, including comedian Shecky Greene.
People who worked with her in Las Vegas remember her as being as driven and ambitious as ever. Not that she was motivated by material wealth however; instead she was dominated by the desire to be the best possible performer, and she could be overly severe with herself, and others, when they didn’t meet her high exp
Cute Sex Pics
Ashley Hinshaw Nude
Photos Nude Women