Hayworth Theatre (Los Angeles, CA)
In the style of Tommy and Jesus Christ Superstar, Lovelace, a rock opera, tells the story of legendary porn star Linda Lovelace. From pregnant teenager in Yonkers, New York, to counter-culture star of Deep Throat, to activist and suburban mother, Lovelace's journey is both a triumphant and cautionary tale.
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The last date listed for Lovelace was Sunday March 29, 2009 / 7:00pm. (view all dates)
Currently at Hayworth Theatre:
After the funeral of one of their closest friends, four Chicanos, all ex-Brown Berets, gather in the garage hoping to salvage whatever remains of the bond that once existed between them nearly 25 years ago. These four men spend the better part of an hour courageously confronting their past demons in the most profound way. Learn More
I cannot remember when I left a theatre thinking of the provocative words, "raw", "powerful", & "masterpiece". After the tears, cheers, and standing ovation for LOVELACE The Rock Opera, I saw Katrina Lenk (Velma Kelly in the Hudson Backstage (LAMT) production of Chicago) make Linda Boreman her own with a tragic vulnerablility for life. When Linda's nightmare hits you, it hits you in the gut. When she is crumbled up on the floor, you feel for her. When through the magic of theatre she reclaims herself, you rejoice. What can I say but "This is the reason why I go to the theatre."
Anna Waronker, Charlotte Caffey and Jeffrey Bowman have created a score that's less "rock and roll" than "rock," with a big bow in the direction of Broadway and London's West End -- touchstones (as least to my ears) include The Who's "A Quick One While He's Away," Meat Loaf's "Paradise by the Dashboard Light" (written by Jim Steinman), and "Jesus Christ, Superstar." The pre-recorded musical tracks are excellent (it would have been nice to credit the musicians), and range from acoustic guitar to full-on bombast that is as operatic as it is rock.
What the score lacks, at least to my ears, is a breakthrough signature song – a “Pinball Wizerd,” or “I Don’t Know How to Love Him.” While fine, varied and certainly dramatically serviceable, the songs go by too quickly to make much of a lasting impression.
The linear book begins with Linda Boreman’s birth and ending (in a projected footnote after the dramatic climax) with her death in a 2002 automobile accident. There are no flashbacks or other digressions. While as interesting as such devices might be dramatically, their absence helps keep the show moving quickly through its 90 uninterrupted minutes.
Some, including the creators, might look at “Lovelace” as (among other things) a feminist tract, but it’s more complicated than that. Borman/Lovelace is (at least according to her own account and the show’s script) physically abused and otherwise taken advantage of, but at crucial times she seems perfectly willing to go along with whatever her husband, Chuck Traynor (real names are used for all the principal characters), proposes. Blame that (if “blame” is the word) on blind love, ambition, or childhood mistreatment, as you desire.
My own feeling is that the whole situation is unclear -- perhaps due to the locomotive pace of the production. Traynor, for instance, threatens his wife and even beats her when she shows no sign of reluctance to comply with his program. Why? (Following his divorce from Boreman, he married and guided the career of another ‘70s porn star, Marilyn Chambers, with far less --if any-- rumor of domestic instability). What explains the inconsistency? That may be another show, or at least another book, but perhaps a little more attention might be given to his motivation. Maybe, though, he was just a jerk. It happens.
Performances last Saturday night (Valentine’s Day – it seemed appropriate) were very strong, with Katrina Lenk navigating Borman’s transition to Lovelace flawlessly, and Jimmy Swan (as Traynor) a natural for the musical theater stage, even though his background is as a rock singer.
As hairdresser-turned-director Gerard Damiano and Lovelace’s co-star, Harry Reems, Alan Palmer and Josh Greene supply welcome comic relief, difficult though it might be to think of Reems as Greene plays him – more Rip Taylor than, say, fellow Golden Age porn star Jerry Butler. And several other capable players perform, mostly in multiple roles.
There’s skin, if not nudity, in “Lovelace,” and there’s some simulated (if not stimulating) sex, as befits the subject. So it’s probably not first-date material, or something to bring your grandmother to. But the show’s very nicely done, a lot of fun, and definitely recommended to anyone who finds the idea interesting.
This is my second viewing. The first time I was in the first row and could not take in all that was occurring. But I loved it then even though the sound was loud. A little ways back however and in the center and WOW. Katrina Lenk has the depth and versatility of a Patti Lupone with the tenderness of an Idena Menzel. But she is her own special creation. I am not used to victim musicals and this is one hell of of a Rock Victim Opera. I am used to strong women on stage. Linda Boreman is a lost soul who misguidely finds a hellish notority as Linda Lovelace. However, Lenk always lets the viewer be aware that Linda Boreman is somewhere trapped inside and her strenghth eventually comes out. When she finaly summons the strength, Boreman is free and we feel her freedom. I do not want to give too much away but the director has it right with the symbols. I guesss many know how her life ends but Katrina Lenk remarkably reclaims herself. Lenk makes it her own. Linda Lovelace only existed for 4 years but lives for eternity but Linda Boreman/Katrina Lenk makes sure that you know that "LINDA LOVELACE RIP-FOREVER" and with that I would recommend you see this truly unique Los Angeles experience.
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The Hayworth Theatre is conveniently located in Los Angeles’ Historic Wilshire District.
Formerly a movie theater and dance studio, The Hayworth has been transformed into Los Angeles’ hottest and most vibrant theatre and performing arts center. This two story stucco-over brick structure houses a 99 seat theatre, 42 seat theatre, 49 seat theatre, dressing room, green room and a 1500-sq-ft ballroo
On June 12, 1972, Deep Throat made its debut, becoming the first main stream pornographic movie. The country’s elite, from Truman Capote to Jackie Kennedy to Johnny Carson flocked to theater to see this history making film. Its star, Linda Lovelace became a sensation, counting Warren Beatty and Jack Nicholson as her fans. By all accounts, at the time, she was on top of the world. A sexually liberated woman taking full advantage of the sexual revolution. But, just a few years later, she was telling a different story. One of abuse and imprisonment at the hands of her husband Chuck Traynor. She was embraced by the feminist movement and its anti-porn crusade., becoming one of their premier spokeswomen, even going on to speak numerous times in front of the U.S Senate.
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