Editing June Havoc

{{Short description|American actress, vaudeville performer, and memoirist (1912–2010)}}
{{distinguish|June Haver}}
{{Use mdy dates|date=May 2014}}
{{Infobox person
| name               = June Havoc
| image              = June Havoc - 1950s.jpg
| caption            = Havoc {{circa|1944}}
| birth_name         = Ellen Evangeline Hovick
| birth_date         = {{Birth date|mf=y|1912|11|08}}<ref>Many sources cite 1913 but Havoc in her late years endorsed the earlier year, although a copy of her birth certificate has not been made available.</ref>
| birth_place        = [[Vancouver, British Columbia]], Canada
| known_for          = {{hlist|[[Pal Joey (musical)|Pal Joey]]|[[My Sister Eileen (1942 film)|My Sister Eileen]]|[[No Time for Love (1943 film)|No Time for Love]]|[[Mexican Hayride (musical)|Mexican Hayride]]|[[Hello, Frisco, Hello]]|[[when My Baby Smiles at Me (film)|When 'My Baby Smiles at Me]]|[[Red, Hot and Blue (film)|Red, Hot and Blue]]|[[Gentleman's Agreement]]}}
| occupation         = {{hlist|Actress|dancer|stage director|memoirist|playwright}}
| awards             = [[American Theater Hall of Fame]]<br>[[Hollywood Walk of Fame]]
| years_active       = 1918–1997
| death_date         = {{Death date and age|mf=y|2010|03|28|1912|11|08}}
| death_place        = [[Stamford, Connecticut]], US
| spouse             = Bobby Reed (a.k.a. Weldon Hyde)<br />({{abbr|m.|married}} 1928; {{abbr|div.|divorced}} 193?)<br />{{marriage|Donald S. Gibbs|1935|1942|end=divorced}}<br />{{marriage|[[William Spier]]|1948|1973|end=died}}
| children           = 1
| mother             = [[Rose Thompson Hovick]]
| relatives          = [[Gypsy Rose Lee]] (sister)
| signature          = Havocsignature1980.png
}}

'''June Havoc''' (born '''Ellen Evangeline Hovick''';<ref name="ReferenceA">Ancestry Library Edition{{vs|date=December 2022}}</ref> November 8, 1912 – March 28, 2010)<ref name=beck>{{cite web|last=Beck|first=Kathrine K.|url=http://www.historylink.org/essays/output.cfm?file_id=5686|title=Historylink.org|publisher=Historylink.org|date=April 8, 2004|access-date=December 22, 2011|archive-date=December 23, 2007|archive-url=https://web.archive.org/web/20071223040146/http://www.historylink.org/essays/output.cfm?file_id=5686|url-status=live}}</ref><ref name="strippinggypsy">{{Cite book|last=Frankel|first=Noralee|title=Stripping Gypsy: The Life of Gypsy Rose Lee|url=https://books.google.com/books?id=O2xxhFcOXfwC&q=stripping%20gypsy&pg=PP1|location=Oxford|publisher=Oxford University Press|year=2009|isbn=978-0-19-536803-1|access-date=February 20, 2012|archive-date=February 26, 2022|archive-url=https://web.archive.org/web/20220226214313/https://books.google.com/books?id=O2xxhFcOXfwC&q=stripping+gypsy&pg=PP1|url-status=live}}</ref> was a Canadian-born American actress, dancer, stage director and memoirist.<ref name=NYTobit/>

Havoc was a child [[vaudeville]] performer under the tutelage of her mother [[Rose Thompson Hovick]], born Rose Evangeline Thompson.<ref>{{cite web|last=McLellan|first=Dennis|url=http://www.latimes.com/news/obituaries/la-me-june-havoc30-2010mar30,0,691138.story|title=Los Angeles Times obituary|work=Los Angeles Times|date=March 29, 2010|access-date=December 22, 2011|archive-date=December 2, 2013|archive-url=https://web.archive.org/web/20131202231957/http://www.latimes.com/news/obituaries/la-me-june-havoc30-2010mar30,0,691138.story|url-status=live}}</ref> June later acted on [[Broadway theatre|Broadway]] and in Hollywood, and stage-directed, both on and off-Broadway. She last acted on television in 1990 in a [[story arc]] on the [[soap opera]] ''[[General Hospital]]'', and she last appeared on television as herself in interviews in the "Vaudeville" episode of ''[[American Masters]]'' in 1997 <ref>Vaudeville episode, ''American Masters''(1999) Winstar TV & Video dvd WHE73060 accessed on August 19, 2020.</ref> and in "The Rodgers & Hart: Thou Swell, Thou Witty" episode of ''[[Great Performances]]'' in 1999. Her elder sister Louise gravitated to [[American burlesque|burlesque]] and became the well-known [[striptease]] performer [[Gypsy Rose Lee]].

==Early life==
Ellen Evangeline Hovick was born in [[Vancouver]], British Columbia, Canada.<ref name="ReferenceA"/> For many years 1916 was cited as her year of birth. Havoc acknowledged in her later years that 1912 was likely the correct year. She was reportedly uncertain of the year. Her mother forged various birth certificates for both her daughters to evade [[child labor laws]].<ref name=NYTobit/> Her life-long career in show business began when she was a child, billed as "Baby June."<ref>{{cite news|first=Alvin|last=Klein|url=http://theater2.nytimes.com/mem/theater/treview.html?_r=1&res=990CE3DA1739F936A35750C0A963958260&oref=slogin|title=June Havoc, Off Stage|work=The New York Times|date=March 5, 1995|access-date=May 9, 2006|archive-date=February 26, 2022|archive-url=https://web.archive.org/web/20220226214323/https://www.nytimes.com/section/theater?_r=1&oref=slogin&res=990CE3DA1739F936A35750C0A963958260|url-status=live}}</ref>

Her sister, entertainer [[Gypsy Rose Lee]] (born as Rose Louise Hovick), was called "Louise" by her family members. Their parents were [[Rose Thompson Hovick]], of German descent, and John ("Jack") Olaf Hovick, the son of Norwegian immigrants, who worked as an advertising agent and reporter for the ''Seattle Times'' newspaper.<ref name="strippinggypsy"/><ref>{{cite book|last=Preminger|first=Erik Lee|title=My G-String Mother: At Home and Backstage with Gypsy Rose Lee|year=2004|orig-year=1984|publisher=Frog|location=Berkeley, California|isbn=978-1-58394-096-9|url=https://books.google.com/books?id=7ZwKTFdIE5sC&q=My%20G-string%20mother&pg=PA186|author-link=Erik Lee Preminger|page=186|access-date=November 13, 2020|archive-date=February 26, 2022|archive-url=https://web.archive.org/web/20220226214329/https://books.google.com/books?id=7ZwKTFdIE5sC&q=My+G-string+mother&pg=PA186|url-status=live}}</ref>

==Career==
===Vaudeville===
[[File:June Havoc photo of Ms. Havoc as Baby June from 1916-17 lg.jpg|thumb|left|Baby June {{circa|1916–1917}}]][[File:DaintyJuneAd.jpg|thumb|right|November 13, 1927 ad in ''The Decatur Review'' By age 15, "Baby June" had become "Dainty June."]] 
Following their parents' divorce, the two sisters earned the family's income by appearing in [[vaudeville]], where June's talent often overshadowed Louise's. Baby June got an audition with [[Alexander Pantages]], who had come to [[Seattle|Seattle, Washington]] in 1902 to build theaters up and down the west coast of the United States. Soon, she was launched in vaudeville and also appeared in Hollywood movies. She could not speak until the age of three, but the films were all silent. She would cry for the cameras when her mother told her that the family's dog had died.<ref>{{cite book|last=Havoc|first=June|title=Early Havoc|year=1959|publisher=Simon and Schuster|location=New York|oclc=721747|page=20}}</ref>

In December 1928, Havoc, in an effort to escape her overbearing mother, eloped with Bobby Reed, a boy in the vaudeville act. Weeks later after performing at the Jayhawk Theatre in [[Topeka, Kansas]], on December 29, 1928, June's mother, Rose, reported Reed to the Topeka Police, and he was arrested. Rose pulled out a concealed gun when she met Bobby at the police station, intending to shoot him, but the gun didn't fire because the safety was on. She then physically attacked her son-in-law, and the police had to pry her off the hapless Reed. June subsequently left both her family and the act. Though the marriage didn't last long, the two remained friends.{{cn|date=May 2025}}

===Film and stage===
[[File:June Havoc photo from Pal Joey 1941.jpg|thumb|right|June Havoc with chorus boy Van Johnson in the 1940 original production of ''[[Pal Joey (musical)|Pal Joey]]'']]
She adopted the surname Havoc, a variant of her birth name. In 1936, Havoc got her first part on Broadway in the [[Sigmund Romberg]] operetta ''[[Forbidden Melody]]''. In 1940, she gave a show-stopping performance as Gladys Bumps in the [[Rodgers and Hart]] musical ''[[Pal Joey (musical)|Pal Joey]]'', with [[Gene Kelly]] in the lead role and [[Van Johnson]], who was in the chorus, along with future film director [[Stanley Donen]].<ref>Mordden, Ethan (1999) ''Beautiful Mornin’: The Broadway Musical in the 1940's''. Oxford University Press p. 55.</ref> Based on their success, Havoc, Johnson and Kelly were beckoned by Hollywood. Havoc made her first film in 1942, and she began to alternate film roles with returns to the Broadway stage. From 1942 to 1944, Havoc appeared in 11 films, including ''[[My Sister Eileen (1942 film)|My Sister Eileen]]'' with [[Rosalind Russell]], and ''[[No Time for Love (1943 film)|No Time for Love]]'' with [[Claudette Colbert]] and [[Fred MacMurray]]. She then returned to Broadway in the 1943–44 season, co-starring with [[Bobby Clark (comedy actor)|Bobby Clark]] in the [[Cole Porter]] musical ''[[Mexican Hayride]]'', for which she received the Donaldson Award for best performance by an actress in a supporting role in a musical.

In 1944, [[Ethel Merman]] was tapped to star as the title character in the musical play ''[[Sadie Thompson (musical)|Sadie Thompson]]'', with a score by [[Vernon Duke]] and [[Howard Dietz]], directed and produced by [[Rouben Mamoulian]]. The musical play was based on the short story ''[[Rain (short story)|Rain]]'' by [[W. Somerset Maugham]].<ref>Kellow, Brian (2007). ''Ethel Merman: A Life''. Viking Press, pp. 104–105.</ref> The serious production was a departure from Merman’s string of successful musical comedies.<ref>Kellow, Brian (2007). ''Ethel Merman: A Life''. Viking Press, pp. 104–105 ("Kellow").</ref> Moreover, during rehearsals, Merman had difficulties memorizing the lyrics, and she blamed Dietz for his use of sophisticated and foreign words. She had her husband, newspaper promotion director Bob Levitt, tone down some of the lyrics.<ref name="Kellow, pp.104-105">Kellow, pp. 104–105</ref> Dietz took exception to Merman’s singing the altered lyrics and gave her an ultimatum to sing his original lyrics or leave the show.<ref name="Kellow, p. 105">Kellow, p. 105</ref> In response, Merman withdrew from the production.<ref name="Kellow, p. 105"/> (Some have since speculated that Merman's departure was probably due to her reluctance to assume such a serious role in her first dramatic musical.)<ref>I Like the Likes of Duke (v "Sadie Thompson" (11/16/44 – 01/06/45)), That’s Entertainment (September 7, 2015) jacksonhupperco.com/tag/june-havoc, accessed on September 9, 2020; Mordden, Ethan (1999) ''Beautiful Mornin’: The Broadway Musical in the 1940's''. Oxford University Press p. 113.<!-- ISSN/ISBN needed --></ref>
[[File:June Havoc photograph of Ms. Havoc in Sadie Thompson 1943.jpg|thumb|left|June Havoc in the title role in the 1943 Broadway musical ''[[Sadie Thompson (musical)|Sadie Thompson]]'']]

Havoc left her starring role in ''[[Mexican Hayride]]'', and assumed the role written for Merman.<ref name="Kellow, p. 105"/> The production of ''[[Sadie Thompson (musical)|Sadie Thompson]]'' had a difficult out-of-town tryout with songs being deleted and other songs added.<ref>I Like the Likes of Duke (v "Sadie Thompson" (11/16/44 – 01/06/45)), That’s Entertainment (September 7, 2015) jacksonhupperco.com/tag/june-havoc, accessed on September 9, 2020.</ref> Indeed, even after the Broadway opening, musical numbers continued to be cut and other numbers added.<ref>Dietz, Dan (2015) The Complete Book of 1940's Broadway Musicals. Rowman & Littlefield Publishers, ("Dietz") p. 248.</ref> ''[[Sadie Thompson (musical)|Sadie Thompson]]'' opened on Broadway on November 16, 1944, to mixed reviews.<ref name="auto">Dietz, p. 247.</ref> Havoc received almost uniformly favorable reviews.<ref name="Dietz, p. 248">Dietz, p. 248</ref> She was called the “most enjoyable asset” of the show and praised for the “consummate skill of her artistry.”<ref name="Dietz, p. 248"/> Her performance was described as “surprisingly effective“ and “truly touching,” and she was deemed a “worthy successor” to Jeanne Eagels, who had famously first portrayed the role on Broadway in the play ''[[Rain (play)|Rain]]''.<ref>Dietz, p. 248.</ref> The score and the book received mixed reviews, with the score called “undistinguished.”<ref>Dietz, p. 247</ref> However, one reviewer compared the show favorably to ''[[Oklahoma!]]'', which Mamoulian had also directed.<ref name="auto"/> Nonetheless, the show lasted only 60 performances and closed on January 6, 1945.<ref name="Dietz, p. 248"/> In 1945, Havoc was featured in the film ''[[Brewster's Millions (1945 film)|Brewster's Millions]]'', and starred in ''[[The Ryan Girl]]'' on Broadway.

In Hollywood, Havoc played the second female lead for three of the most popular musical movie stars in the 1940s and early 1950s: [[Alice Faye]] in ''[[Hello, Frisco, Hello]]'' with [[John Payne (actor)|John Payne]]
(1943); [[Betty Grable]] in ''[[When My Baby Smiles at Me (film)|When My Baby Smiles at Me]]'' with [[Dan Dailey]] (1948); and [[Betty Hutton]] in ''[[Red, Hot and Blue (film)|Red, Hot, and Blue]]'' with [[Victor Mature]] (1949). She also played leading roles in several films noir: ''[[Intrigue (1947 film)|Intrigue]]'' with [[George Raft]] (1947), ''[[Chicago Deadline]]'' with [[Alan Ladd]] (1949), ''[[The Story of Molly X]]'' with [[John Russell (actor)|John Russell]] (1949), and ''[[Once a Thief (1950 film)|Once A Thief]]'' with [[Cesar Romero]] (1950). Havoc's best-remembered film role was probably as the Jewish, yet closeted about her identity, secretary in the [[Elia Kazan]] Oscar-winning best film ''[[Gentleman's Agreement]]''.<ref name="auto2">Gates, Anita (March 29, 2010) "June Havoc, Vaudeville Star, Is Dead" [[New York Times]].</ref>

In the late 1950s, Havoc decided that she wanted to act in classic plays. In 1956, she worked with the Phoenix Theatre Company, first starring as Queen Jocasta opposite [[John Kerr (actor)|John Kerr]] in ''[[The Infernal Machine (play)|The Infernal Machine]]'', playwright [[Jean Cocteau]]’s retelling of the Oedipus myth. ''New York Times'' critic [[Brooks Atkinson]] opined that her performance brought “a gravity and force that become the tragic situation.”<ref>{{cite news |last1=Atkinson |first1=Brooks |title=Theatre: The Oedipus Myth Retold; ' Infernal Machine' by Cocteau at Phoenix |url=https://www.nytimes.com/1958/02/04/archives/theatre-the-oedipus-myth-retold-infernal-machine-by-cocteau-at.html |work=The New York Times |date=4 February 1958 }}</ref> Next Havoc played Titania in ''[[A Midsummer Night's Dream]]'' at the American Shakespeare Festival Theater & Academy. Atkinson called her Titania “conspicuously delightful” and found her performance, along with those of Barbara Barrie and Inga Swenson, “a fine Shakespeare revel.”<ref>{{cite news |last1=Atkinson |first1=Brooks |title='A Midsummer Night's Dream' at Festival; Exuberant Production in Stratford, Conn. Actors Excel in Play Within the Play |url=https://www.nytimes.com/1958/06/23/archives/a-midsummer-nights-dream-at-festival-exuberant-production-in.html |work=The New York Times |date=23 June 1958 }}</ref> She then returned to the Phoenix Theatre company for the production of ''[[The Beaux' Stratagem]]''. Atkinson observed that Havoc played Mrs. Sullen “as a lovely lady with an infectious sense of humor.”<ref>{{cite news |last1=Atkinson |first1=Brooks |title=The Theatre: Restoration Comedy; 'The Beaux' Stratagem' Revived at Phoenix Stuart Vaughan Directs Play by Farquhar |url=https://www.nytimes.com/1959/02/25/archives/the-theatre-restoration-comedy-the-beaux-stratagem-revived-at.html |work=The New York Times |date=25 February 1959 }}</ref>

Havoc and her sister continued to get demands for money and gifts from their mother until her death in 1954.<ref>Beck, Kathrine K. (April 8, 2004). "Historylink.org". Historylink.org. Retrieved December 22, 2011.</ref> After their mother's death, the sisters then were free to write about her without risking a lawsuit. Lee's memoir, ''Gypsy'', published in 1957, inspired the [[Jule Styne]], [[Stephen Sondheim]], and [[Arthur Laurents]] Broadway musical ''[[Gypsy (musical)|Gypsy: A Musical Fable]]''. Havoc did not like the way she or her mother were portrayed in the piece, which became a source of disagreement between the sisters, but did nothing to obstruct the production. <ref>{{cite web | url=https://www.today.com/popculture/june-havoc-immortalized-gypsy-dies-97-wbna36085662 | title=June Havoc, immortalized in 'Gypsy,' dies at 97 | date=March 29, 2010 }}</ref>  Havoc and Lee were estranged for many years, but reconciled shortly before Lee's death in 1970.<ref name=playbill>{{cite web | url=https://www.playbill.com/article/june-havoc-stage-star-whose-life-became-legend-in-gypsy-dies-at-96-com-167189 | title=June Havoc, Stage Star Whose Life Became Legend in Gypsy, Dies at 96 | first=Robert | last=Simonson | author-link=Robert Simonson | date=March 28, 2010 | work=[[Playbill]] | access-date=June 26, 2020 | archive-date=June 27, 2020 | archive-url=https://web.archive.org/web/20200627055912/https://www.playbill.com/article/june-havoc-stage-star-whose-life-became-legend-in-gypsy-dies-at-96-com-167189 | url-status=live }}</ref>

In 1960, [[President Dwight D. Eisenhower]] authorized the creation of the President’s Special International Program, under the United States Department of State and its agent, the International Cultural Exchange Service of America.<ref>Langner, Lawrence (1960) “A Note about the Theatre Guild American Repertory Theatre Company” National Theatre program for the week commencing February 28, 1960, Aires Publishing Co., p. 18.</ref> The Program, with the American National Theatre and Academy, established the Theatre Guild American Repertory Theatre to perform a program of plays abroad.<ref>Langner, Lawrence (1960) “A Note about the Theatre Guild American Repertory Theatre Company” National Theatre program for the week commencing February 28, 1960 Aires Publishing Co., p. 18 ("Langner").</ref> Havoc, as well as [[Helen Hayes]], [[Leif Erickson (actor)|Leif Erickson]] and others, made six-month commitments to participate in the repertory company.<ref name="Langner, p.18">Langner, p.18.</ref> Three plays were selected to be performed in repertory: ''[[The Skin of Our Teeth]]'', in which Havoc played Sabina and Hayes portrayed Mrs. Antrobus; ''[[The Miracle Worker]]'', in which Havoc portrayed Mrs. Keller; and ''[[The Glass Menagerie]]'', in which Hayes played the mother.<ref>National Theatre program for the week commencing February 28, 1960, Aires Publishing Co., pp. 7–12.</ref> The playwrights, [[Thornton Wilder]], [[William Gibson]] and [[Tennessee Williams]], all personally supervised the productions of their plays.<ref name="Langner, p.18"/> In February and early March 1960, the repertory company performed the plays at the National Theater in Washington, D.C.<ref>Langner, p. 18.</ref> Commencing later in March, the company toured in Europe and the Middle East, performing the plays in major cities in Spain, Belgium, the Netherlands, Greece, Egypt, Israel, Turkey, Germany, Denmark, Norway, Sweden, Finland, Italy, Switzerland and France.<ref name="Langner, p.18"/> Later in the year, the repertory company toured Latin America, performing the same plays, and was the first American repertory theater company to perform in Latin America.<ref name="Langner, p.18"/>
[[File:Julie Harris - 1963.jpg|thumb|Julie Harris in the Broadway production of ''Marathon '33'' (1963)]]
In 1959, Havoc's first memoir, ''Early Havoc'', was published. ''The New York Times'' critic called the book "spirited" and "entertaining."<ref>Nichols, Lewis. (May 24, 1959) "Always On State," New York Times, p. 138.</ref> In the memoir, Havoc recounted her life from childhood to 1933, when she first competed in a marathon dance contest. The chapters alternated between a chronological progression and a description of the grueling marathon dance contest, detailing the desperation and degradation she experienced and observed.<ref>Havoc, June (1959). ''Early Havoc''. Simon and Schuster, pp. 1–27.</ref> At the time of the book's publication, Havoc was appearing on Broadway in the play ''The Warm Peninsula'', co-starring [[Julie Harris]] and [[Farley Granger]]. Harris read the memoir, and was so taken with the dance contest chapters that she urged Havoc to write a play based upon that experience.<ref name="Playbill 1964 p. 38">''Playbill'', vol. 1 (January 1964) No. 1, Marathon ’33, p. 38.</ref> At first she demurred, never having written a play. However, Harris persisted, and when she said that she would star as Havoc's character in the play, Havoc was finally persuaded to write the play.<ref name="Playbill 1964 p. 38"/> Upon completion, the play ''[[Marathon '33]]'' was performed in a workshop at the [[Actors Studio]].<ref name="Playbill 1964 p. 38"/> [[David Merrick]] optioned the play for Broadway with [[Gower Champion]] set to direct.<ref>Esterow, Milton. (May 22, 1962) "June Havoc Play Will Be Shelved, New York Times, p. 30.</ref> However, Havoc canceled the option, explaining that Merrick wanted to turn the play into a musical.<ref>Esterow, Milton. (May 22, 1962) "June Havoc Play Will Be Shelved, New York Times, p. 30 ("Esterow").</ref> Champion responded that Havoc had canceled the option because Merrick had wanted her to work with another writer to revise the play, and she had refused.<ref>Esterow, p. 30.</ref>

Havoc then planned to present ''Marathon '33'' in the Riviera Terrace ballroom, an actual dance hall.<ref name="Filichia, Peter 2015 p. 183">Filichia, Peter (2015). ''The Great Parade: Broadway's Astonishing Never-To-Be-Forgotten 1963–1964 Season''. St. Martin's Press, p. 183.</ref> However, when the ballroom was sold, she agreed to present her play on Broadway.<ref name="Filichia, Peter 2015 p. 183"/> As director and choreographer, Havoc turned the stage at the ANTA Theatre into a dance hall.<ref name="Filichia, Peter 2015 p. 183"/> ''Marathon '33'' proved to be a flop, opening on December 22, 1963, running for 48 performances and closing on February 1, 1964.<ref>{{cite news | last=Klein | first=Alvin | date=November 6, 1983 | url=https://www.nytimes.com/1983/11/06/nyregion/the-lively-arts-theater-bows-with-marathon-33.html?pagewanted=all | title=The Lively Arts; Theater Bows With 'Marathon'33' | work=The New York Times | access-date=April 4, 2016 | archive-date=April 16, 2016 | archive-url=https://web.archive.org/web/20160416232928/http://www.nytimes.com/1983/11/06/nyregion/the-lively-arts-theater-bows-with-marathon-33.html?pagewanted=all | url-status=live }}</ref> The play featured 34 actors, several of whom had highly successful careers, including [[Doris Roberts]], [[Joe Don Baker]], [[Conrad Janis]], [[Gabriel Dell]] and [[Ralph Waite]].<ref>''Playbill'', vol. 1 (January 1964) No. 1, Marathon ’33, pp. 23–27.</ref> The play earned four Tony nominations, including nominations for Havoc for best direction of a play and for Harris as best actress in a play.<ref>Filichia, Peter (2015). ''The Great Parade: Broadway's Astonishing Never-To-Be-Forgotten 1963–1964 Season''. St. Martin's Press, pp. 267–268.</ref>
[[File:June Havoc Ms. Havoc as Sabina in 1970.jpg|thumb|right|June Havoc as Sabina in ''[[The Skin of Our Teeth]]'' at The Repertory Theatre, New Orleans in 1970]]<ref>Glover, William. (March 28, 1971) "Swinging Drama" (Theater Week story on changing theater), Associated Press.</ref>
Havoc wrote three more plays, ''[[I, Said The Fly]]'', ''[[The Great State of Hysteria]]'' and ''[[The Great Elinor Glyn Emancipation Gun Powder Love Regatta]]''; the book and lyrics for a musical, ''[[Oh Glorious Tintinnabulation]]''; as well as a one-woman show and a second memoir, titled ''[[More Havoc]]''. In reviewing ''[[More Havoc,]]'' ''The New York Times'' critic called Havoc a "writer of consequence" and described the book as "a vivid, biting and painfully real remembrance of her own walk on the wild side of the Depression years and on up through her triumph in ''Pal Joey'' and Hollywood stardom."<ref>[[Charlotte Curtis|Curtis, Charlotte]]. (June 19, 1980) "Entertaining Ladies," The New York Times, p. 50</ref>

In 1966, Havoc appeared as Millicent Jordan in an all-star revival of ''[[Dinner at Eight (play)|Dinner at Eight]]'' on Broadway, directed by Sir [[Tyrone Guthrie]], and featuring Walter Pidgeon, Arlene Francis, Darren McGavin and Pamela Tiffin. ''The New York Times'' critic Walter Kerr lauded Havoc’s performance as the hostess of the dinner, noting that she was becoming this country’s [[Vivien Leigh]]. Kerr observed: “She makes the prospect of spending the entire day on the telephone rounding up a guest list, sound like work for a contented dove. That is to say, she coos cheerily, even with a pencil in her mouth, as she sets about buttering up all the people who can’t say, “no,” and she caresses her very chic white French phone with the exquisite finesse of a Victorian gentlewoman doing needlework.”<ref>Kerr, Walter (September 28, 1966). “Theatre: ‘Dinner At Eight’ at Alvin: Kaufman-Ferber Play Directed by Guthrie”, The New York Times; p. 38</ref>

[[File:Havoc annie.jpg|thumb|left|June Havoc as Miss Hannigan in the Broadway production of ''[[Annie (musical)|Annie]]'', with Alyson Kirk as Annie, in 1982]]

During the presidency of [[Lyndon B. Johnson]], the National Endowment for the Arts and the U.S. Department of Education provided funding in 1966 for the creation of professional theater programs in three cities: Los Angeles, New Orleans and Providence, Rhode Island.<ref>”Classy Acts” (March 1, 2011) myneworleans.com, accessed February 28, 2021 (“myneworleans”).</ref> In New Orleans, the professional theater company was named The Repertory Theatre, New Orleans (“the Repertory Theatre”).<ref name="auto3">myneworleans.</ref> The program involved 48,000 high school students, who saw four plays each year after reading the plays in class.<ref name="auto3"/> The productions included guest actors, such as Havoc, who portrayed Mrs. Malaprop in ''[[The Rivals]]'', and also lectured in the schools.{{citation needed|date=August 2021}}

After President [[Richard M. Nixon]] took office in January 1969, the federal funding ended.<ref>”Lack of Money Threatens Life of N.O. Theatre” (“N.O. Theatre”) (December 6, 1970) Sunday Advocate Baton Rouge, La., p. 6-B.</ref> The Repertory Theatre sought to become self-sustaining and hired Havoc as the artistic director.<ref name="auto5">N.O. Theatre, p. 6-B.</ref> She created a theater in a vacant 100-year-old synagogue, constructing a thrust stage with audience members seated on three sides.<ref>myneworleans; N.O. Theatre, p. 6-B.</ref> She also established an apprentice program for teenagers, an acting school, and a space for an African American theater group.<ref name="auto5"/> Havoc was able to lure well-known actors to participate in productions, such as [[Julie Harris]] and [[Jessica Walter]] in ''[[The Women (play)|The Women]]''. After the 1970 season, Havoc resigned due to budgetary limitations.<ref>N.O. Theatre, p. 6-B</ref> Her farewell production in November 1970 was ''[[The Skin of Our Teeth]]'', with Havoc portraying Sabina and at age 58, performing on a trapeze {{convert|60|feet}} above the audience.{{citation needed|date=August 2021}}

In the fall of 1982, Havoc became the eighth and final actress to portray the featured role of the villainous "Miss Hannigan" in the long-running original Broadway production of the musical ''[[Annie (musical)|Annie]]''.<ref>Guernsby, Jr., Otis L. (1983) ''The Best Plays of 1982–1983'' Dodd, Mead & Company, p. 436.</ref> She continued in the role until the show closed after more than four years on January 2, 1983.<ref>Guernsby, Jr., Otis L. (1983) ''The Best Plays of 1982–1983'' Dodd, Mead & Company, p. 453.</ref> In 1995, she made her last New York stage appearance at age 82 as the title character in ''[[The Old Lady’s Guide to Survival]]'' at the Off-Broadway [[Lamb's Theatre]]. Her performance was cited as one of the season's five best by an actress in a primary role by the editors of ''[[The Best Plays of 1994–1995]]''.<ref>Guernsey, Jr., Otis L. and Jeffrey Sweet (1995). ''The Best Plays of 1994–1995''. Limelight Editions, p. 28.</ref> At age 88, Havoc starred with [[Dick Cavett]] in the [[Tennessee Williams]] one-act play ''[[Lifeboat Drill]]'' as part of the January 26, 2002, fourth Tennessee Williams marathon at the Hartford Stage Company.<ref>Frank Rizzo (January 24, 2002) "Stars Come Out for Tennessee Williams Marathon," ''Hartford Courant''.</ref>

===Television and radio===
Havoc performed intermittently on the radio in the 1940s and early 1950s. Her performances ranged from full-length plays, such as ''[[Golden Boy (play)|Golden Boy]]'' on the prestigious [[Theater Guild on the Air]] and ''Skylark'' on [[NBC|NBC Best Plays]], to the more popular mystery program ''[[Suspense (radio drama)|Suspense]]''. Under the pseudonym Armana Fargey, she also appeared on episodes of ''[[The Adventures of Sam Spade]]'' and ''[[Suspense (radio drama)|Suspense]]''.<ref>Irvin, Sam (2010) "Kay Thompson: From Funny Face to Eloise" Simon & Schuster, p. 145</ref>
[[File:June Havoc photo from Willy 1954.jpg|thumb|left|June Havoc in ''[[Willy (TV series)|Willy]]'' in 1954]]
[[File:June Havoc photo from Outer Limits in 1964.jpg|thumb|right|June Havoc in an episode of ''[[The Outer Limits (1963 TV series)|The Outer Limits]]'' in 1964]]

In the 1950s, Havoc was a frequent performer on anthology television series, both filmed, such as [[General Electric Theater]], and live, such as the Peabody Award-winning ''[[Celanese Theatre]]'', the Emmy Award-winning [[Robert Montgomery Presents]] and ''[[Omnibus (U.S. TV series)|Omnibus]]''. She starred in a weekly half hour series ''[[Willy (TV series)|Willy]]'' during the 1954–1955 television season.<ref name="TvGuide1954">"Havoc's Here," ''TV Guide'' October 30, 1954, pp. 16–17.</ref> In some respects, the show was ahead of its time in that Havoc's character, Willa “Willy” Dodger, was an unmarried lawyer with her own legal practice in a small New England town.<ref name="TvGuide1954" /> [[Lucille Ball]] had encouraged her to star in a weekly series, and the show was a [[Desilu]] production.<ref name="TvGuide1954" /> Like ''[[I Love Lucy]]'', ''Willy'' was filmed before a live studio audience.<ref name="TvGuide1954" /> Her husband, William Spier, was the producer.<ref name="TvGuide1954" /> ''Willy'' was broadcast on CBS at 10:30&nbsp;p.m. on Saturdays opposite the popular NBC series, ''[[Your Hit Parade]]''. Midway through the season, an attempt was made to increase ratings by having Havoc's character relocate to New York to represent show business clients; however, the show lasted only one season.<ref>"Lady Lawyer Practices Law," ''TV Guide'' May 7–13, 1955, p. 12.</ref>

From the 1960s through 1990, Havoc appeared occasionally on such successful television series as ''[[The Untouchables (1959 TV series)|The Untouchables]]''; ''[[Murder, She Wrote]]''; ''[[McMillan & Wife]]''; ''[[The Paper Chase (TV series)|The Paper Chase]]''; and ''[[The Outer Limits (1963 TV series)|The Outer Limits]]'', as well as an arc on the popular soap opera ''[[General Hospital]]''.

==Personal life==
[[File:June Havoc photo of Ms. Havoc and her husband William Spier.jpg|thumb|left|June Havoc and her husband William Spier attending the races in 1951]]

Havoc was married three times. Her first marriage, at age 16, was in December 1928 to Bobby Reed, a boy in her vaudeville act.<ref>Aaker, Everett (2013) ''George Raft: The Films''. McFarland, p. 130; {{ISBN|0786493135}}</ref> Her second marriage was to Donald S. Gibbs in 1936;<ref>Havoc, June (1980) ''More Havoc''. Harper & Row, Publishers, pp. 186–187.</ref> they divorced in December 1942.<ref>"Actress Divorced," (December 3, 1942) Associated Press photo and byline.</ref> Her third marriage, to radio and television director and producer [[William Spier]], lasted from January 25, 1948 until his death in 1973.<ref>“William H. Spier, TV Producer Is Dead,” The New York Times June 1, 1973, p. 38.</ref> Havoc's sister [[Gypsy Rose Lee]] died of lung cancer in 1970, aged 59, and is interred at Inglewood Park Cemetery in [[Inglewood, California]]. June's only child was a daughter, April Rose Hyde, born April 2, 1932.<ref name="ReferenceA"/><ref name="auto2"/> A marriage license, dated November 30, 1928 for Ellen Hovick and Weldon Hyde would seem to indicate that Bobby Reed's real name was Weldon Hyde.<ref name="ReferenceA"/><ref>{{cite news | url=https://www.nytimes.com/2003/08/10/theater/theater-the-real-june-is-still-singing-out.html?pagewanted= | title=The real June is still singing out | work=The New York Times | date=August 10, 2003 | access-date=December 22, 2011 | archive-date=March 4, 2016 | archive-url=https://web.archive.org/web/20160304133203/http://www.nytimes.com/2003/08/10/theater/theater-the-real-june-is-still-singing-out.html?pagewanted= | url-status=live }}</ref> However, in her second memoir ''More Havoc'', Havoc admitted that her daughter's father was Jamie Smythe, a marathon dance promoter.<ref>Havoc, June (1980). ''More Havoc''. Harper & Row, Publishers, pp. 133–134.</ref> This suggestion seems credible since she had separated from her first husband before she entered her first marathon dance contest in 1933. April became an actress known as April Kent in the 1950s, appearing in such films as ''[[The Incredible Shrinking Man]]'' and ''[[Tammy and the Bachelor]]''. April pre-deceased her mother, dying in the Paris suburb of [[Montreuil, Seine-Saint-Denis]] on December 28, 1998, at the age of 66.<ref name=playbill />

In 1947, Havoc was a member of the [[Committee for the First Amendment]] (“the FAC”), founded by [[Philip Dunne (writer)|Philip Dunne]], [[Myrna Loy]], [[John Huston]] and [[William Wyler]], to support freedom of speech in the film industry during the hearings of the [[House Un-American Activities Committee|House Un-American Activities Committee (<nowiki>''HUAC''</nowiki>)]] .<ref>Doherty, Thomas. (2018) [[Show Trial]], Columbia University Press, p. 178. (“Doherty”)</ref> HUAC was conducting an investigation of Communist infiltration of the film industry prompted in part by the films ''[[Crossfire (film)|Crossfire]]'' and ''[[Gentleman's Agreement]]'', in which antisemitism was a focal point.<ref>Doherty, p. 265.</ref> Havoc had played the supporting role of a secretary who is Jewish but also expresses anti-Semitic sentiments in the latter film. On October 26, Havoc boarded a chartered plane with 22 other FAC members, including [[Humphrey Bogart]], [[Lauren Bacall]] and [[Danny Kaye]], to Washington, D.C. to protest and attend the second week of hearings.<ref>Doherty, pp. 202–204</ref> The FAC also sponsored two network radio broadcasts, [[Hollywood Fights Back]], on October 26, and November 2, 1947, in which Havoc and 44 other members voiced their opposition to the HUAC hearings and the existence of the committee itself.<ref>Doherty, pp. 197–200.</ref>

The FAC members, including Havoc, walked to the Capitol and attended the October 27 hearing.<ref name="auto1">Doherty, p. 217.</ref> The members were escorted past empty seats to the back of the hearing room where Rep. [[J. Parnell Thomas]], the HUAC chairman, had reserved seats for them.<ref name="auto1"/> They were treated to a raucous confrontation between Thomas and the subpoenaed witness, screenwriter John Howard Lawson.<ref>Doherty, pp. 211–213.</ref> Lawson refused to answer whether he had ever been a member of the Communist Party and was held in contempt; evidence, including Lawson’s Communist party membership card, was then introduced.<ref>Doherty, pp. 213–215.</ref> Although the FAC members had planned to attend only one day of the hearings, they stayed a second day before returning to Los Angeles.<ref>Doherty, p. 226</ref> On October 30, Thomas abruptly ended the hearings without calling several subpoenaed witnesses to the relief of the film industry.<ref>Doherty, pp. 286–287</ref> However, he threatened to reconvene the hearings.<ref>Doherty, 286–287.</ref> Moreover, the committee had held 10 screenwriters and directors in contempt and introduced their Communist Party membership cards into evidence. Moreover, the FAC members’ trip to Congress proved to be a public relations fiasco. The general public perceived the FAC members as supporting the proven Communist Party members, not their freedom of speech.<ref name="auto4">Doherty, p. 310</ref> As a result, movie box office receipts dropped 20%, and even established stars like Bogart were compelled to make public apologies.<ref name="auto4"/> It is unknown whether Havoc’s film career was affected. However, the fact that she had prominent roles in three films in 1948 and three films in 1949 would suggest otherwise. One of her 1948 films was ''[[The Iron Curtain]]'', which was an anti-communist movie produced by Daryl F. Zanuck in response to Thomas’ claims that Hollywood did not produce such films.<ref>Doherty, p. 62</ref>
[[File:Havoc @ cc sm.jpg|thumb|left|June Havoc at her development Cannon Crossing c. 1980]]
In 1967, Havoc founded Youthbridge, a program that provided theatrical training to adolescents, primarily African American adolescents, at the Bridgeport, Connecticut YWCA. She was the executive and artistic director of the Youthbridge program and participated in fund raising events.<ref>Mahalia Gives a Big Boost to Youthbridge TV Show," The Bridgeport Post (Bridgeport, CN), August 12, 1971.</ref>

In the mid-1970s, Havoc purchased for $230,000 an abandoned train depot and various pre-Civil War buildings on eight acres of land called [[Cannon Crossing]] in the [[Cannondale Historic District]] of [[Wilton, Connecticut]].<ref>Connell, Lise. (March 26, 1978) "June Havoc in a New Role: Landlady," The New York Times, p. 77.</ref> Restoring, rebuilding and re-purposing several small buildings from other locations, she worked hands-on and successfully completed this vast restoration project, which remains a popular destination today. It is home to artisan shops, galleries, boutiques, a cafe and a restaurant. Havoc sold the enclave in 1989.<ref name="KleinNYT">Klein, Alvin, "Theater; June Havoc, Off Stage", article, The New York Times, March 5, 1995, retrieved July 9, 2020.</ref> A long-time resident of Fairfield County (Weston, Wilton and lastly North Stamford) Connecticut, Havoc was fiercely devoted to the care and well-being of animals. Her homes were a nurturing and loving sanctuary to many orphaned geese, donkeys, cats, and dogs over the decades.<ref name="KleinNYT" /> Havoc set aside half of the acreage at Cannon Crossing for rescued animals, and Blessing of the Animals ceremonies were held annually just before Christmas at Cannon Crossing.<ref>Clines, Francis X. (June 14, 1979) "About Cannondale: A Connecticut Yankee, Starring June Havoc," The New York Times, p. B2; Morris, Gitta. (July 30, 1989) "A 19th Century 'Village' for a 20th Century Price," The New York Times, p. 95.</ref>

Havoc supported Democrat [[Adlai Stevenson II|Adlai Stevenson]] in the [[1952 United States presidential election|1952 presidential election]].<ref>''Motion Picture and Television Magazine'', November 1952, p. 33, Ideal Publishers</ref>

==Death==
Havoc died at her home in [[Stamford, Connecticut]], on March 28, 2010, from unspecified natural causes. She was believed to be 97 at the time of her death.<ref name=NYTobit>{{cite news|title=June Havoc, Vaudeville Star, Is Dead|author=Gates, Anita|newspaper=[[The New York Times]]|date=March 29, 2010|url=https://www.nytimes.com/2010/03/30/theater/30havoc.html|quote=June Havoc ... died on Sunday at her home in Stamford, Conn. She was believed to be 97. ... Ellen Evangeline Hovick was born on Nov. 8, 1912, in Vancouver, British Columbia. Or so Ms. Havoc concluded. Her mother reportedly carried five birth certificates for her younger daughter, to satisfy the child labor laws of every state, so June wasn't sure exactly how old she was. ...|access-date=February 10, 2017|archive-date=August 16, 2017|archive-url=https://web.archive.org/web/20170816003400/http://www.nytimes.com/2010/03/30/theater/30havoc.html|url-status=live}}</ref><ref>{{cite web|url=https://www.today.com/popculture/june-havoc-immortalized-gypsy-dies-97-wbna36085662|title=June Havoc, Actress Who Outgrew Tyranny of Her 'Momma Rose', Dies|date=March 29, 2010 |publisher=Today.com|access-date=December 22, 2011|archive-date=February 26, 2022|archive-url=https://web.archive.org/web/20220226214323/https://www.today.com/popculture/june-havoc-immortalized-gypsy-dies-97-wbna36085662|url-status=live}}</ref>

==Honors==

[[File:June Havoc photo from Mexican Hayride 1943.jpg|thumb|right|June Havoc in ''[[Mexican_Hayride_(musical)|Mexican Hayride]]'' in 1943.]]

Havoc received the Donaldson Award for best supporting actress in a musical comedy (''[[Mexican_Hayride_(musical)|Mexican Hayride]]'') in the 1943–1944 Broadway season.<ref>"Havoc's Here" ''TV Guide'' October 30, 1954, pp. 16–17.</ref>

In 1960, Havoc was honored with two stars on the [[Hollywood Walk of Fame]]{{mdash}}one at 6618 Hollywood Boulevard for her contributions to the motion picture industry, and the other at 6413 Hollywood Boulevard for television.<ref>{{cite web|url=http://www.walkoffame.com/june-havoc|title=June Havoc – Hollywood Walk of Fame|website=www.walkoffame.com|access-date=January 17, 2017|archive-date=April 3, 2016|archive-url=https://web.archive.org/web/20160403083132/http://walkoffame.com/june-havoc|url-status=live}}</ref><ref>[http://projects.latimes.com/hollywood/star-walk/june-havoc June Havoc] {{Webarchive|url=https://web.archive.org/web/20170118052258/http://projects.latimes.com/hollywood/star-walk/june-havoc/ |date=January 18, 2017 }}, L.A. Times Hollywood Star Walk; accessed January 17, 2017.</ref>

Havoc was nominated for the [[Tony Award for Best Direction of a Play]] in 1964 for ''Marathon '33'',<ref>{{cite web|url=http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1964|title=1964 Tony Award Winners|publisher=broadwayworld.com|access-date=February 5, 2012|archive-date=January 5, 2012|archive-url=https://web.archive.org/web/20120105101119/http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1964|url-status=dead}}</ref> which she wrote.

In 1971, Havoc received a Humanitarian Award from Bridgeport University, Bridgeport, Connecticut.<ref>"Humanitarian Reward from University of Bridgeport," The Bridgeport Telegram (Bridgeport, CT), May 19, 1971</ref>

For her performance in ''[[Habeas Corpus]]'', Havoc was nominated for the Drama Desk Award for best supporting actress in a play for the 1975–76 Broadway season.<ref name="auto2"/>

In 2000, Havoc was inducted into the [[American Theatre Hall of Fame]].<ref>{{cite web|url=http://old.post-gazette.com/magazine/20010201people3.asp|title=Theater family comes together to celebrate Hall of Fame honorees|publisher=Pittsburgh Post-Gazette|access-date=February 13, 2014|archive-date=November 17, 2016|archive-url=https://web.archive.org/web/20161117170541/http://old.post-gazette.com/magazine/20010201people3.asp|url-status=live}}</ref>

==Legacy==
The June Havoc Theatre, housed at the Abingdon Theatre in New York City, was named for her in 2003.<ref>{{cite web|title=Abingdon Theatre Company, June Havoc Theatre|work=NYC Music Spaces|url=http://www.nycmusicplaces.org/space_detail.php?id=782&term=&type=nl|access-date=May 9, 2006|url-status=dead|archive-url=https://web.archive.org/web/20070929124504/http://www.nycmusicplaces.org/space_detail.php?id=782&term=&type=nl|archive-date=September 29, 2007|df=mdy-all}}</ref><ref>{{cite news|url=http://www.findarticles.com/p/articles/mi_m0EIN/is_2003_Nov_3/ai_109577811|title=Actress-Director-Playwright June Havoc Honored by Abingdon Theatre Company with Naming of Theatre Tonight|work=Business Wire|date=November 3, 2003|access-date=May 9, 2006|url-status=dead|archive-url=https://web.archive.org/web/20071224002121/http://findarticles.com/p/articles/mi_m0EIN/is_2003_Nov_3/ai_109577811|archive-date=December 24, 2007}}</ref>

Havoc was the first American woman nominated for a Tony Award for direction of a play.<ref>Tony Award nominees for direction: [http://tonyawards.com Tony Awards] {{Webarchive|url=https://web.archive.org/web/20220407163029/http://tonyawards.com/ |date=April 7, 2022 }}. Retrieved March 22, 2020.</ref> 

In his autobiography ''Original Story'', [[Arthur Laurents]] reports that June Havoc refused to sign a release for any claim regarding the content of the musical ''[[Gypsy (musical)|Gypsy]]''. Havoc demanded that his script state that she was age 13 when she left the vaudeville act and eloped with one of the dancers. Laurents explains that he objected to Havoc's demand because the audience would lose any sympathy for the character of her mother Rose. He indicates that, while the musical was in tryouts out of town, he altered the script, changing the name of Havoc's character from Dainty June to Dainty Claire. He states that as a result, Havoc signed the release, and her character's name was restored to Dainty June.<ref>Laurents, Arthur (2000). ''Original Story'', Alfred A. Knopf. pp. 388–390.</ref>

In her one-woman show, ''[[Elaine Stritch at Liberty]]'', [[Elaine Stritch]] recalled that after the closing of the play ''Time of the Barracudas'' on the West Coast, she returned to New York and landed a leading role in the play ''Oh Glorious Tintinnabulation''. Stritch recounted that the play was written and directed by June Havoc and scheduled for performance at the [[Lincoln Center Theater]]. According to Stritch, during dress rehearsal, Havoc told Stritch that "it just wasn't working out." Stritch added that she went home and that Havoc assumed the role she had been playing. She noted that this incident resulted in an article by [[Lee Israel]], in which Stritch criticized directors, published in ''The New York Times'', which led to her casting in the musical ''[[Company (musical)|Company]]''.<ref>''Elaine Stritch at Liberty'' (2002). Act II. 2 CDs recorded live DRG Records 12994.</ref>

Havoc's papers are held in the Howard Gotlieb Archival Research Center at Boston University, and a 28-page inventory is accessible online.<ref>{{Cite web |url=http://archives.bu.edu/finding-aid/finding_aid_329821.pdf |title=Howard Gotlieb Archival Research Center » BU Libraries &#124; Boston University |access-date=August 6, 2020 |archive-date=February 26, 2022 |archive-url=https://web.archive.org/web/20220226214320/http://archives.bu.edu/finding-aid/finding_aid_329821.pdf |url-status=live }}</ref>

==Selected Stage Work==

''(All shows on Broadway unless indicated otherwise.)''

===Acting===
{{div col|colwidth=30em}}
* ''[[The Merry Widow]]'' (1936) Malita – St Louis Municipal Theatre
* ''[[Bitter Sweet (operetta)|Bittersweet]]'' (1936) Dolly Chamberlain – St Louis Municipal Theatre
* ''Forbidden Melody'' (1936) 
* ''The Three Waltzes'' (1938) Lilli – Jones Beach Stadium
* ''[[Words and Music (musical)|Words and Music]]'' (1940–41) The National Theatre national tour
* ''[[Pal Joey (musical)|Pal Joey]]'' (1941) Gladys Bumps with [[Gene Kelly]]
* ''[[Mexican Hayride (musical)|Mexican Hayride]]'' (1944) Montana
* ''Sadie Thompson'' (1944) Sadie Thompson
* ''The Ryan Girl'' (1945) Venetia Ryan
* ''[[Dream Girl (play)|Dream Girl]]'' (1946)
* ''Dunnigan's Daughter'' (1946) Ferne Rainier – [[John Golden Theatre]]
* ''[[Affairs of State]]'' (1951) Irene Elliott (replacing [[Celeste Holm]])
* ''Devil On Two Sticks'' (1955) Salt Creek Summer Theatre, Hinsdale, IL
* ''One Foot in the Door'' (1957) Schubert Theatre Boston try-out
* ''[[The Infernal Machine (play)|The Infernal Machine]]'' (1958) – Queen Jocasta – Phoenix Theatre
* ''[[A Midsummer Night's Dream]]'' (1958) Titania – American Shakespeare Festival Theater & Academy
* ''[[The Beaux' Stratagem]]'' (1959) Mrs. Sullen – Phoenix Theatre
* ''The Warm Peninsula'' (1959) Joanne de Lynn – Helen Hayes Theatre
* ''[[The Skin of Our Teeth]]'' (1960) Sabina – National Theatre The Theatre Guild American Repertory Company
* ''[[The Miracle Worker]]'' (1960) Kate Keller – National Theatre The Theatre Guild American Repertory Company
* ''[[Dinner at Eight (play)|Dinner at Eight]]'' (1966) Millicent Jordan with [[Walter Pidgeon]]
* ''[[A Delicate Balance (play)|A Delicate Balance]]'' (1967) Claire – Philadelphia
* ''[[The Rivals]]'' (1968) Mrs. Malaprop – The Repertory Theatre, New Orleans
* ''[[Man and Superman|Don Juan in Hell]]'' (1968) – Philadelphia
* ''[[The Killing of Sister George]]'' (1968) June Buckridge (Sister George) – Philadelphia 
* ''[[Black Comedy (play)|Black Comedy]]/[[The White Liars|White Lies]]'' (1968) – Mineola Theatre
* ''[[The Threepenny Opera]]'' (1970) Jenny Diver – The Repertory Theatre, New Orleans
* ''[[The Skin Of Our Teeth]]'' (1970) Sabina – Repertory Theatre, New Orleans
* ''[[The Gingerbread Lady]]'' (1972) Evy Meara – Pheasant Run Playhouse 
* ''I, Said the Fly'' (1973) – Big Gurn – Guthrie Theater, Minneapolis
* ''[[Habeas Corpus (play)|Habeas Corpus]]'' (1975) Mrs. Swabb 
* ''Come And Be Killed'' (1978) – Berkshire Playhouse
* ''Jitters'' (1981) (pre-Broadway try-out)
* ''[[Sweeney Todd: The Demon Barber of Fleet Street]]'' (1981–82) Mrs. Nellie Lovett – National Tour
* ''[[Annie (musical)|Annie]]'' (1982–83) Miss Agatha Hannigan 
* ''An Unexpected Evening with June Havoc'' (or ''Baby June Remembers'') (1983) one woman show – White Barn Theater, Westport, Connecticut
* ''An Unexpected Evening with June Havoc'' (or ''Baby June Remembers'') (1985) one woman show – Donmar Theatre (now Donmar Warehouse), London
* ''Happy Birthday, Mr. Abbott, or Night of 100 Years'' (June 22, 1987) (Broadway benefit concert celebrating the 100th birthday of [[George Abbott]])
* ''Eleemosynary'' (1991) Dorothea with [[Elizabeth Ashley]] directed by [[Burt Reynolds]] Flat Rock Theater North Carolina
* ''The Old Lady's Guide to Survival'' (1994) – Ivanhoe Theatre, Chicago
* ''The Old Lady's Guide to Survival'' (1995) – Lamb's Theatre
{{div col end}}

===Directing===
{{div col|colwidth=30em}}
* ''[[The Naked Genius]]'' with Gypsy Rose Lee (1954) New Parsons Theatre, Hartford, CT
* ''Marathon '33'' (1963)
* ''Royal Flush'' (1965) (pre-Broadway tryout)
* ''[[A Delicate Balance (play)|A Delicate Balance]]'' (1967) Westport Country Playhouse
* ''[[A Delicate Balance (play)|A Delicate Balance]]'' (1967) Mineola Theatre & Tappan Zee Playhouse
* ''[[Black Comedy (play)|Black Comedy]] / [[The White Liars|White Lies]]'' (1968) Mineola Theatre
* ''I, Said The Fly'' (1973) Guthrie Theater, Minneapolis
* ''Oh Glorious Tintinnabulation'' (1974) The Actors Studio
'''Artistic Director of The Repertory Theatre, New Orleans (1970)'''
* ''[[The Threepenny Opera]]'' (1970) The Repertory Theatre, New Orleans
* ''[[Luv (play)|Luv]]'' (1970) The Repertory Theatre, New Orleans
* ''[[The Fantasticks]]'' (1970) The Repertory Theatre, New Orleans
* ''[[The Women (play)|The Women]]'' (1970), with Julie Harris and Jessica Walter, The Repertory Theatre, New Orleans
* ''[[A Streetcar Named Desire]]'' (1970), with Ben Piazza, The Repertory Theatre, New Orleans
* ''[[The Skin Of Our Teeth]]'' (1970) The Repertory Theatre, New Orleans
{{div col end}}

==Selected filmography==
===Features===
{{div col|colwidth=30em}}

[[File:June Havoc Ms. Havoc and Gregory Peck in 1947 Gentleman's Agreement.jpg|thumb|center|June Havoc and Gregory Peck in ''[[Gentleman's Agreement]]'' in 1947]]

* ''[[Four Jacks and a Jill (film)|Four Jacks and a Jill]]'' (1942) – Opal
* ''[[Sing Your Worries Away]]'' (1942) – Roxey Rochelle
* ''[[Powder Town]]'' (1942) – Dolly Smythe
* ''[[My Sister Eileen (1942 film)|My Sister Eileen]]'' (1942) – Effie Shelton
* ''[[No Time for Love (1943 film)|No Time for Love]]'' (1943) – Darlene
* ''[[Hello, Frisco, Hello]]'' (1943) – Beulah Clancy
* ''[[Hi Diddle Diddle]]'' (1943) – Leslie Quayle
* ''[[Timber Queen (1944 film)|Timber Queen]]'' (1944) – Lil Boggs
* ''[[Casanova in Burlesque]]'' (1944) – Lillian Colman
* ''[[Brewster's Millions (1945 film)|Brewster's Millions]]'' (1945) – Trixie Summers
* ''[[Intrigue (1947 film)|Intrigue]]'' (1947) – Mme. Tamara Baranoff
* ''[[Gentleman's Agreement]]'' (1947) – Elaine Wales
* ''[[The Iron Curtain (film)|The Iron Curtain]]'' (1948) – Nina Karanova
* ''[[When My Baby Smiles at Me (film)|When My Baby Smiles at Me]]'' (1948) – Gussie Evans
* ''[[Red, Hot and Blue (film)|Red, Hot and Blue]]'' (1949) – Sandra
* ''[[Chicago Deadline]]'' (1949) – Leona Purdy
* ''[[The Story of Molly X]]'' (1949) – Molly X
* ''[[Mother Didn't Tell Me]]'' (1950) – Maggie Roberts
* ''[[Once a Thief (1950 film)|Once a Thief]]'' (1950) – Margie Foster
* ''[[Follow the Sun (film)|Follow the Sun]]'' (1951) – Norma
* ''[[Lady Possessed]]'' (1952) – Jean Wilson
* ''[[Three for Jamie Dawn]]'' (1956) – Lorrie Delacourt
* ''[[The Private Files of J. Edgar Hoover]]'' (1977) – Hoover's Mother
* ''[[Can't Stop the Music]]'' (1980) – Helen Morell
* ''[[A Return to Salem's Lot]]'' (1987) – Aunt Clara
* ''[[Broadway: The Golden Age, by the Legends Who Were There]]'' (2003) – Herself
{{div col end}}

===Short subjects===
* ''[[On the Jump]]'' (1918) – Child
* ''[[Hey There!]]'' (1918) – Child
* ''[[Hedda Hopper]]'s Hollywood No. 6'' (1942) – Herself

==Selected television work==

{{div col|colwidth=26em}}
* ''[[The Milton Berle Show]]'' (1949) herself
* ''[[Robert Montgomery Presents]]'' ("The Egg And I" 1950) – Betty MacDonald
* ''[[Cameo Theatre]]'' ("Special Delivery" 1951)
* ''[[Somerset Maugham TV Theatre]]'' ("Cakes And Ale" 1951)
* ''[[The Fred Waring Show]]'' (September 9, 1951) - herself
* ''[[Celanese Theatre]]'' ("Anna Christie" June 23, 1952) – Anna Christie with [[Richard Burton]]
* ''[[Pulitzer Prize Playhouse]]'' ("Daisy Mayme" 1952) – Daisy Mayme Plunkett
* ''[[Robert Montgomery Presents]]'' ("The Fairifield Lady" 1952)
* ''[[Omnibus (U.S. TV series)|Omnibus]]'' (U.S. TV series) ("Three Maidens and the Devil / Happy Birthday, Aunt Sarah" 1953)
* ''[[Omnibus (U.S. TV series)|Omnibus]]'' (U.S. TV series) ("The Man in the Cool Cool Moon /The Bear" 1953) – Mme. Papova
* ''[[What's My Line?]]'' January 18, 1953 (as Mystery Guest)
* ''[[Medallion Theatre]]'' ("Mrs. Union Station" 1953)
* ''[[General Electric Theater]]'' ("Exit For Margo" 1954) – Margo
* ''[[Fireside Theatre]]'' ("A Mother's Duty" 1954)
* ''[[Willy (TV series)|Willy]]'' (1954–1955) – Willa 'Willy' Dodger
* ''[[The Name's the Same]]'' April 26, 2018 (replay) (as Guest)
* ''[[Robert Montgomery Presents]]'' ("The Tyrant" 1956) – Crystal Davis
* ''[[Matinee Theatre]]'' (1956) – Robin Daw
* ''[[Lux Video Theatre]]'' ("Millie's Daughter" (1956) – Millie
* ''[[Studio One in Hollywood]]'' ("The Mother Bit" 1957) – Kitty Sharpe
* ''[[The Errol Flynn Theatre]]'' ("Take The High Road" 1957) – Lorraine Gray
* ''[[Panic! (TV series)|Panic!]]'' (The Moth and the Flame" 1957) – June Sullivan
* ''[[The Errol Flynn Theatre]]'' ("My Infallible Uncle" 1957)
* ''[[Kraft Theatre]]'' ("Candid Profile, Inc." 1957) – Mary Carpenter
* ''[[Producer's Showcase]]'' ("Mr. Broadway" 1957) – Trixie Fraganza
* ''[[Person to Person]]'' (1957) – herself
* ''The Last Word'' (CBS weekly show August 16, 1959) – herself
* ''[[The U.S. Steel Hour]]'' ("The Pink Burro" 1959)
* ''[[The Untouchables (1959 TV series)|The Untouchables]]'' ("The Larry Fay Story" 1960) – Sally Kansas
* ''[[General Hospital]]'' (1963)
* ''The June Havoc Show'' (1964) (cancelled after a few weeks)
* ''[[The Outer Limits (1963 TV series)|The Outer Limits]]'' ("Cry of Silence" 1964) – Margaret Thorne with [[Eddie Albert]] and [[Arthur Hunnicutt]]
* ''[[Burke's Law (1963 TV series)|Burke's Law]]'' ("Who Killed Everybody?" 1964) – Miranda Forsythe
* ''[[The Magical World of Disney]]'' ("The Boy Who Stole the Elephant" 1970) – Molly Jeffreys
* ''[[McMillan and Wife]]'' ("The Easy Sunday Murder Case", 1971) – Francesca Fairborn
* ''[[Connecticut Profiles]]'' (October 23, 1978) - herself
* ''[[The Paper Chase (TV series)|The Paper Chase]]'' ("The Clay Footed Idol" 1979) – Mrs. Margaret Peters<ref>{{cite web|url=https://www.youtube.com/watch?v=fJW0iFwf9-o&index=18&list=PLEtwdb0nlBAQjL4FR_RGKSU-RBEMCKjS- |archive-url=https://web.archive.org/web/20230421160213/https://www.youtube.com/watch?v=fJW0iFwf9-o&index=18&list=PLEtwdb0nlBAQjL4FR_RGKSU-RBEMCKjS- |archive-date=April 21, 2023 |url-status=dead|title=- YouTube|website=www.youtube.com}}</ref>
* ''[[Search for Tomorrow]]'' (cast member in 1986) – Zophie
* ''[[Murder She Wrote]]'' ("The Days Dwindle Down" 1987) – Thelma Vantay
* ''[[Murder, She Wrote]]'' ("The Grand Old Lady", 1989) – Lady Abigail Austin
* ''[[General Hospital]]'' (1990) – Madeline Markham
* ''[[American Masters]]'' ("Vaudeville" 1997) – herself
* ''[[Great Performances]]'' ("The Rodgers & Hart Story: Thou Swell, Thou Witty" 1999) – herself
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==Selected radio work==
{{div col|colwidth=26em}}
* ''[[Theatre Guild on the Air]]'' ("Golden Boy" 1946) – Lorna
* ''[[Theatre Guild on the Air]]'' ("They Knew What They Wanted" May 19, 1946) – Amy with [[John Garfield]]
* ''[[Suspense (radio drama)|Suspense]]'' ("Stand-In" June 12, 1947)
* ''[[Suspense (radio drama)|Suspense]]'' ("Double Ugly" August 28, 1947)
* ''[[Hollywood Fights Back]]'' (October 26, 1947) herself
* ''[[Suspense (radio drama)|Suspense]]'' ("Subway" October 30, 1947)
* ''[[Hollywood Fights Back]]'' (November 2, 1947) herself
* ''[[Suspense (radio drama)|Suspense]]'' ("Riabouchinska" November 13, 1947) narrator under the pseudonym Armana Fargey
* ''[[Suspense (radio drama)|Suspense]]'' ("One Hundred in the Dark" November 20, 1947)
* ''[[Suspense (radio drama)|Suspense]]'' ("Wet Saturday" December 19, 1947)
* ''[[Suspense (radio drama)|Suspense]]'' ("Black Angel" / "Eve" January 24, 1948)
* ''[[Suspense (radio drama)|Suspense]]'' ("Blind Date" September 29, 1949)
* ''[[Cavalcade of America]]'' ("The Reluctant Pioneer" April 3, 1951)
* ''[[NBC Best Plays]]'' ("Skylark" 1952)
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==Recordings==
{{div col|colwidth=26em}}
* ''[[Mexican Hayride]]'' ("Abracadabra" b/w "There Must Be Someone for Me") Decca 71955 / 23338A (78 rpm record 1944)
* ''[[Mexican Hayride]]'' (original Broadway cast album) Decca album no. A 372 (four 78 rpm records 1944)
* ''[[Co-Star: Record Acting Game]]'' Columbia Records CS-105 (33 rpm lp record)
* ''[[Hello, Frisco, Hello]]'' (motion picture soundtrack) Sandy Hook Records S.H.2070 (33 rpm lp record 1983)
* ''[[Mexican Hayride]]'' Decca Broadway B003125-02-STO1 (original cast album cd)
* ''[[Cole Porter's Can-Can / Mexican Hayride / The Pirate]]'' Naxos Musicals 8.120845 (original cast selections cd 2007)
* ''[[Alice Faye & Co-Stars: The 20th Century Fox Years, vol.2, 1940-1944]]'' Sepia Recordings 5055122113775 (film soundtrack recordings, including songs by June Havoc in [[Hello, Frisco, Hello]] cd 2023)<ref>Songs by Havoc are as follows: "Lindy Lou (By the Watermelon Man) - Havoc, Jack Oakie, Alice Faye and John Payne; "Lindy Lou" (reprise) - Havoc and Oakie; "Hello, Frisco, Hello" - Havoc and Oakie; "My Pony Boy" / "Ragtime Cowboy" (medley) - Havoc, Oakie, Faye and Payne; "Gee, But It's Great To Meet a Friend" - Havoc and Oakie; "Strike Up The Band" / "I Got a Girl in Every Port" / "Sailor's Hornpipe" (medley) - Havoc and Oakie; "I Gotta Have You" - Havoc.</ref>
{{div col end}}

==Literary works==
===Plays===
{{div col|colwidth=26em}}
* ''Marathon '33'' (1963)
* ''I, Said The Fly'' (1973)
* ''Oh Glorious Tintinnabulation'' (1974) book and lyrics by June Havoc and music by Cathy MacDonald
* ''An Unexpected Evening with June Havoc'' (or ''Baby June Remembers'') (1983) one woman show 
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===Books===
{{div col|colwidth=26em}}
* ''[[Early Havoc]]'' (Simon and Schuster 1959)
* ''[[More Havoc]]'' (Harper & Row Publishers 1980)
* ''[[Suspense: Twenty Years of Thrills and Chills]]'' by Martin Grams with foreword by June Havoc (Morris Publishing 1997)
{{div col end}}

==References==
{{reflist}}

==External links==
{{Portal|Biography}}
{{Commons}}
* {{Discogs artist}}
* {{IMDb name}}
* {{IBDB name}}
* {{iobdb name}}
* {{YouTube|6dFFFfPa0Mo|Baby June (June Havoc) in the 1918 Harold Lloyd film, On the Jump}}

{{Gypsy Rose Lee}}
{{Authority control}}

{{DEFAULTSORT:Havoc, June}}
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