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Description logic

Description logics (DL) are a family of formal knowledge representation languages. Many DLs are more expressive than propositional logic but less expressive than first-order logic. In contrast to the latter, the core reasoning problems for DLs are (usually) decidable, and efficient decision procedures have been designed and implemented for these problems. There are general, spatial, temporal, spatiotemporal, and fuzzy description logics, and each description logic features a different balance between expressive power and reasoning complexity by supporting different sets of mathematical constructors.

DLs are used in artificial intelligence to describe and reason about the relevant concepts of an application domain (known as terminological knowledge). It is of particular importance in providing a logical formalism for ontologies and the Semantic Web: the Web Ontology Language (OWL) and its profiles are based on DLs. The most notable application of DLs and OWL is in biomedical informatics where DL assists in the codification of biomedical knowledge.

Introduction
A description logic (DL) models concepts, roles and individuals, and their relationships.

The fundamental modeling concept of a DL is the axiom—a logical statement relating roles and/or concepts. This is a key difference from the frames paradigm where a frame specification declares and completely defines a class.

Terminology compared to FOL and OWL
The description logic community uses different terminology than the first-order logic (FOL) community for operationally equivalent notions; some examples are given below. The Web Ontology Language (OWL) uses again a different terminology, also given in the table below.

Naming convention
There are many varieties of description logics and there is an informal naming convention, roughly describing the operators allowed. The expressivity is encoded in the label for a logic starting with one of the following basic logics: Followed by any of the following extensions:

Exceptions
Some canonical DLs that do not exactly fit this convention are:

Examples
As an example, $$\mathcal{ALC}$$ is a centrally important description logic from which comparisons with other varieties can be made. $$\mathcal{ALC}$$ is simply $$\mathcal{AL}$$ with complement of any concept allowed, not just atomic concepts. $$\mathcal{ALC}$$ is used instead of the equivalent $$\mathcal{ALUE}$$.

A further example, the description logic $$\mathcal{SHIQ}$$ is the logic $$\mathcal{ALC}$$ plus extended cardinality restrictions, and transitive and inverse roles. The naming conventions aren't purely systematic so that the logic $$\mathcal{ALCOIN}$$ might be referred to as $$\mathcal{ALCNIO}$$ and other abbreviations are also made where possible.

The Protégé ontology editor supports $$\mathcal{SHOIN}^\mathcal{(D)}$$. Three major biomedical informatics terminology bases, SNOMED CT, GALEN, and GO, are expressible in $$\mathcal{EL}$$ (with additional role properties).

OWL 2 provides the expressiveness of $$\mathcal{SROIQ}^\mathcal{(D)}$$, OWL-DL is based on $$\mathcal{SHOIN}^\mathcal{(D)}$$, and for OWL-Lite it is $$\mathcal{SHIF}^\mathcal{(D)}$$.

History
Description logic was given its current name in the 1980s. Previous to this it was called (chronologically): terminological systems, and concept languages.

Knowledge representation
Frames and semantic networks lack formal (logic-based) semantics. DL was first introduced into knowledge representation (KR) systems to overcome this deficiency.

The first DL-based KR system was KL-ONE (by Ronald J. Brachman and Schmolze, 1985). During the '80s other DL-based systems using structural subsumption algorithms were developed including KRYPTON (1983), LOOM (1987), BACK (1988), K-REP (1991) and CLASSIC (1991). This approach featured DL with limited expressiveness but relatively efficient (polynomial time) reasoning.

In the early '90s, the introduction of a new tableau based algorithm paradigm allowed efficient reasoning on more expressive DL. DL-based systems using these algorithms — such as KRIS (1991) — show acceptable reasoning performance on typical inference problems even though the worst case complexity is no longer polynomial.

From the mid '90s, reasoners were created with good practical performance on very expressive DL with high worst case complexity. Examples from this period include FaCT, RACER (2001), CEL (2005), and KAON 2 (2005).

DL reasoners, such as FaCT, FaCT++, RACER, DLP and Pellet, implement the method of analytic tableaux. KAON2 is implemented by algorithms which reduce a SHIQ(D) knowledge base to a disjunctive datalog program.

Semantic web
The DARPA Agent Markup Language (DAML) and Ontology Inference Layer (OIL) ontology languages for the Semantic Web can be viewed as syntactic variants of DL. In particular, the formal semantics and reasoning in OIL use the $$\mathcal{SHIQ}$$ DL. The DAML+OIL DL was developed as a submission to —and formed the starting point of—the World Wide Web Consortium (W3C) Web Ontology Working Group. In 2004, the Web Ontology Working Group completed its work by issuing the OWL recommendation. The design of OWL is based on the $$\mathcal{SH}$$ family of DL with OWL DL and OWL Lite based on $$\mathcal{SHOIN}^\mathcal{(D)}$$ and $$\mathcal{SHIF}^\mathcal{(D)}$$ respectively.

The W3C OWL Working Group began work in 2007 on a refinement of - and extension to - OWL. In 2009, this was completed by the issuance of the OWL2 recommendation. OWL2 is based on the description logic $$\mathcal{SROIQ}^\mathcal{(D)}$$. Practical experience demonstrated that OWL DL lacked several key features necessary to model complex domains.

Modeling
In DL, a distinction is drawn between the so-called TBox (terminological box) and the ABox (assertional box). In general, the TBox contains sentences describing concept hierarchies (i.e., relations between concepts) while the ABox contains ground sentences stating where in the hierarchy, individuals belong (i.e., relations between individuals and concepts). For example, the statement:

belongs in the TBox, while the statement:

belongs in the ABox.

Note that the TBox/ABox distinction is not significant, in the same sense that the two "kinds" of sentences are not treated differently in first-order logic (which subsumes most DL). When translated into first-order logic, a subsumption axiom like ($$) is simply a conditional restriction to unary predicates (concepts) with only variables appearing in it. Clearly, a sentence of this form is not privileged or special over sentences in which only constants ("grounded" values) appear like ($$).

So why was the distinction introduced? The primary reason is that the separation can be useful when describing and formulating decision-procedures for various DL. For example, a reasoner might process the TBox and ABox separately, in part because certain key inference problems are tied to one but not the other one ('classification' is related to the TBox, 'instance checking' to the ABox). Another example is that the complexity of the TBox can greatly affect the performance of a given decision-procedure for a certain DL, independently of the ABox. Thus, it is useful to have a way to talk about that specific part of the knowledge base.

The secondary reason is that the distinction can make sense from the knowledge base modeler's perspective. It is plausible to distinguish between our conception of terms/concepts in the world (class axioms in the TBox) and particular manifestations of those terms/concepts (instance assertions in the ABox). In the above example: when the hierarchy within a company is the same in every branch but the assignment to employees is different in every department (because there are other people working there), it makes sense to reuse the TBox for different branches that do not use the same ABox.

There are two features of description logic that are not shared by most other data description formalisms: DL does not make the unique name assumption (UNA) or the closed-world assumption (CWA). Not having UNA means that two concepts with different names may be allowed by some inference to be shown to be equivalent. Not having CWA, or rather having the open world assumption (OWA) means that lack of knowledge of a fact does not immediately imply knowledge of the negation of a fact.

Formal description
Like first-order logic (FOL), a syntax defines which collections of symbols are legal expressions in a description logic, and semantics determine meaning. Unlike FOL, a DL may have several well known syntactic variants.

Syntax
The syntax of a member of the description logic family is characterized by its recursive definition, in which the constructors that can be used to form concept terms are stated. Some constructors are related to logical constructors in first-order logic (FOL) such as intersection or conjunction of concepts, union or disjunction of concepts, negation or complement of concepts, universal restriction and existential restriction. Other constructors have no corresponding construction in FOL including restrictions on roles for example, inverse, transitivity and functionality.

Notation
Let C and D be concepts, a and b be individuals, and R be a role.

If a is R-related to b, then b is called an R-successor of a.

The description logic ALC
The prototypical DL Attributive Concept Language with Complements ($$\mathcal{ALC}$$) was introduced by Manfred Schmidt-Schauß and Gert Smolka in 1991, and is the basis of many more expressive DLs. The following definitions follow the treatment in Baader et al.

Let $$N_C$$, $$N_R$$ and $$N_O$$ be (respectively) sets of concept names (also known as atomic concepts), role names and individual names (also known as individuals, nominals or objects). Then the ordered triple ($$N_C$$, $$N_R$$, $$N_O$$) is the signature.

Concepts
The set of $$\mathcal{ALC}$$ concepts is the smallest set such that:

 * The following are concepts:
 * $$\top$$ (top is a concept)
 * $$\bot$$ (bottom is a concept)
 * Every $$A \in N_C$$ (all atomic concepts are concepts)
 * If $$C$$ and $$D$$ are concepts and $$R \in N_R$$ then the following are concepts:
 * $$C\sqcap D$$ (the intersection of two concepts is a concept)
 * $$C\sqcup D$$ (the union of two concepts is a concept)
 * $$\neg C$$ (the complement of a concept is a concept)
 * $$\forall R.C$$ (the universal restriction of a concept by a role is a concept)
 * $$\exists R.C$$ (the existential restriction of a concept by a role is a concept)

Terminological axioms
A general concept inclusion (GCI) has the form $$C \sqsubseteq D$$ where $$C$$ and $$D$$ are concepts. Write $$C \equiv D$$ when $$C \sqsubseteq D$$ and $$D \sqsubseteq C$$. A TBox is any finite set of GCIs.

Assertional axioms

 * A concept assertion is a statement of the form $$a : C$$ where $$a \in N_O$$ and C is a concept.
 * A role assertion is a statement of the form $$(a,b) : R$$ where $$a, b \in N_O$$ and R is a role.

An ABox is a finite set of assertional axioms.

Knowledge base
A knowledge base (KB) is an ordered pair $$(\mathcal{T}, \mathcal{A})$$ for TBox $$\mathcal{T}$$ and ABox $$\mathcal{A}$$.

Semantics
The semantics of description logics are defined by interpreting concepts as sets of individuals and roles as sets of ordered pairs of individuals. Those individuals are typically assumed from a given domain. The semantics of non-atomic concepts and roles is then defined in terms of atomic concepts and roles. This is done by using a recursive definition similar to the syntax.

The description logic ALC
The following definitions follow the treatment in Baader et al.

A terminological interpretation $$\mathcal{I}=(\Delta^{\mathcal{I}}, \cdot^{\mathcal{I}})$$ over a signature $$(N_C,N_R,N_O)$$ consists of such that
 * a non-empty set $$\Delta^{\mathcal{I}}$$ called the domain
 * a interpretation function $$\cdot^{\mathcal{I}}$$ that maps:
 * every individual $$a$$ to an element $$a^{\mathcal{I}} \in \Delta^{\mathcal{I}}$$
 * every concept to a subset of $$\Delta^{\mathcal{I}}$$
 * every role name to a subset of $$\Delta^{\mathcal{I}} \times \Delta^{\mathcal{I}}$$
 * $$\top^{\mathcal{I}} = \Delta^{\mathcal{I}}$$
 * $$\bot^{\mathcal{I}} = \emptyset$$
 * $$(C \sqcup D)^{\mathcal{I}} = C^{\mathcal{I}} \cup D^{\mathcal{I}}$$ (union means disjunction)
 * $$(C \sqcap D)^{\mathcal{I}} = C^{\mathcal{I}} \cap D^{\mathcal{I}}$$ (intersection means conjunction)
 * $$(\neg C)^{\mathcal{I}} = \Delta^{\mathcal{I}} \setminus C^{\mathcal{I}} $$ (complement means negation)
 * $$(\forall R.C)^{\mathcal{I}} = \{x \in \Delta^{\mathcal{I}} | \text{for} \; \text{every} \; y, (x,y) \in R^{\mathcal{I}} \; \text{implies} \; y \in C^{\mathcal{I}} \} $$
 * $$(\exists R.C)^{\mathcal{I}} = \{x \in \Delta^{\mathcal{I}} | \text{there} \; \text{exists} \; y, (x,y) \in R^{\mathcal{I}} \; \text{and} \; y \in C^{\mathcal{I}}\} $$

Define $$\mathcal{I} \models$$ (read in I holds) as follows

TBox

 * $$\mathcal{I} \models C \sqsubseteq D$$ if and only if $$C^{\mathcal{I}} \subseteq D^{\mathcal{I}}$$
 * $$\mathcal{I} \models \mathcal{T}$$ if and only if $$\mathcal{I} \models \Phi$$ for every $$\Phi \in \mathcal{T}$$

ABox

 * $$\mathcal{I} \models a : C$$ if and only if $$a^{\mathcal{I}} \in C^{\mathcal{I}}$$
 * $$\mathcal{I} \models (a,b) : R$$ if and only if $$(a^{\mathcal{I}},b^{\mathcal{I}}) \in R^{\mathcal{I}}$$
 * $$\mathcal{I} \models \mathcal{A}$$ if and only if $$\mathcal{I} \models \phi$$ for every $$\phi \in \mathcal{A}$$

Knowledge base
Let $$\mathcal{K} = (\mathcal{T}, \mathcal{A})$$ be a knowledge base.

 * $$\mathcal{I} \models \mathcal{K}$$ if and only if $$\mathcal{I} \models \mathcal{T}$$ and $$\mathcal{I} \models \mathcal{A}$$

Decision problems
In addition to the ability to describe concepts formally, one also would like to employ the description of a set of concepts to ask questions about the concepts and instances described. The most common decision problems are basic database-query-like questions like instance checking (is a particular instance (member of an ABox) a member of a given concept) and relation checking (does a relation/role hold between two instances, in other words does a have property b), and the more global-database-questions like subsumption (is a concept a subset of another concept), and concept consistency (is there no contradiction among the definitions or chain of definitions). The more operators one includes in a logic and the more complicated the TBox (having cycles, allowing non-atomic concepts to include each other), usually the higher the computational complexity is for each of these problems (see Description Logic Complexity Navigator for examples).

First-order logic
Many DLs are decidable fragments of first-order logic (FOL) and are usually fragments of two-variable logic or guarded logic. In addition, some DLs have features that are not covered in FOL; this includes concrete domains (such as integer or strings, which can be used as ranges for roles such as hasAge or hasName) or an operator on roles for the transitive closure of that role.

Fuzzy description logic
Fuzzy description logics combines fuzzy logic with DLs. Since many concepts that are needed for intelligent systems lack well defined boundaries, or precisely defined criteria of membership, fuzzy logic is needed to deal with notions of vagueness and imprecision. This offers a motivation for a generalization of description logic towards dealing with imprecise and vague concepts.

Modal logic
Description logic is related to—but developed independently of—modal logic (ML). Many—but not all—DLs are syntactic variants of ML.

In general, an object corresponds to a possible world, a concept corresponds to a modal proposition, and a role-bounded quantifier to a modal operator with that role as its accessibility relation.

Operations on roles (such as composition, inversion, etc.) correspond to the modal operations used in dynamic logic.

Temporal description logic
Temporal description logic represents—and allows reasoning about—time dependent concepts and many different approaches to this problem exist. For example, a description logic might be combined with a modal temporal logic such as linear temporal logic.

Reasoners
There are some semantic reasoners that deal with OWL and DL. These are some of the most popular:
 * CEL is an open source LISP-based reasoner (Apache 2.0 License).
 * Cerebra Engine was a commercial C++-based reasoner, acquired in 2006 by webMethods.
 * FaCT++ is a free open-source C++-based reasoner.
 * KAON2 is a free (for non-commercial use) Java-based reasoner, offering fast reasoning support for OWL ontologies.
 * MSPASS is a free open-source C reasoner for numerous DL models.
 * Pellet is a dual-licensed (AGPL and proprietary) commercial, Java-based reasoner.
 * RacerPro of Racer Systems was a commercial (free trials and research licenses are available) lisp-based reasoner, today both an open source version of RACER exists from the original developers at Lübeck University using the BSD 3 license, and also a commercialized version, still named RacerPro by Franz Inc.
 * Sim-DL is a free open-source Java-based reasoner for the language ALCHQ. It also provides a similarity measurement functionality between concepts. To access this functionality a Protégé plugin can be used.
 * HermiT is an open-source reasoner based on the "hypertableau" calculus. It is developed by the University of Oxford.
 * Owlready2 is a package for ontology-oriented programming in Python. It can load OWL 2.0 ontologies as Python objects, modify them, save them, and perform reasoning via HermiT (included). Owlready2 allows a transparent access to OWL ontologies (contrary to usual Java-based API).

Editors

 * Protégé is a free, open-source ontology editor and a knowledge base framework, which can use DL reasoners offering DIG Interface as a back end for consistency checks.
 * , an OWL browser/editor that takes the standard web browser as the basic UI paradigm.

Interfaces

 * , a standardized XML interface to DLs systems developed by the DL Implementation Group (DIG).
 * , a Java interface and implementation for the Web Ontology Language, used to represent Semantic Web ontologies.

title: Description logic


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June Havoc

June Havoc (born Ellen Evangeline Hovick; November 8, 1912 – March 28, 2010) was a Canadian-born American actress, dancer, stage director and memoirist.

Havoc was a child vaudeville performer under the tutelage of her mother Rose Thompson Hovick, born Rose Evangeline Thompson. June later acted on 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 and in "The Rodgers & Hart: Thou Swell, Thou Witty" episode of Great Performances in 1999. Her elder sister Louise gravitated to burlesque and became the well-known striptease performer Gypsy Rose Lee.

Early life
Ellen Evangeline Hovick was born in Vancouver, British Columbia, Canada. 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. Her life-long career in show business began when she was a child, billed as "Baby June."

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.

Vaudeville
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, 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.

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.

Film and stage
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, with Gene Kelly in the lead role and Van Johnson, who was in the chorus, along with future film director Stanley Donen. 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 with Rosalind Russell, and 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 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, 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 by W. Somerset Maugham. The serious production was a departure from Merman’s string of successful musical comedies. 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. Dietz took exception to Merman’s singing the altered lyrics and gave her an ultimatum to sing his original lyrics or leave the show. In response, Merman withdrew from the production. (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.)

Havoc left her starring role in Mexican Hayride, and assumed the role written for Merman. The production of Sadie Thompson had a difficult out-of-town tryout with songs being deleted and other songs added. Indeed, even after the Broadway opening, musical numbers continued to be cut and other numbers added. Sadie Thompson opened on Broadway on November 16, 1944 to mixed reviews. Havoc received almost uniformly favorable reviews. She was called the “most enjoyable asset” of the show and praised for the “consummate skill of her artistry.” 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. The score and the book received mixed reviews, with the score called “undistinguished.” However, one reviewer compared the show favorably to Oklahoma!, which Mamoulian had also directed. Nonetheless, the show lasted only 60 performances and closed on January 6, 1945. In 1945, Havoc was featured in the 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 (1943); Betty Grable in When My Baby Smiles at Me with Dan Dailey (1948); and Betty Hutton in Red, Hot, and Blue with Victor Mature (1949). She also played leading roles in several films noir: Intrigue with George Raft (1947), Chicago Deadline with Alan Ladd (1949), The Story of Molly X with John Russell (1949), and 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.

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 in 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.” 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.” 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.”

Havoc and her sister continued to get demands for money and gifts from their mother until her death in 1954. 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: 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. Havoc and Lee were estranged for many years, but reconciled shortly before Lee's death in 1970.

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. The Program, with the American National Theatre and Academy, established the Theatre Guild American Repertory Theatre to perform a program of plays abroad. Havoc, as well as Helen Hayes, Leif Erickson and others, made six-month commitments to participate in the repertory company. 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. The playwrights, Thornton Wilder, William Gibson and Tennessee Williams, all personally supervised the productions of their plays. In February and early March 1960, the repertory company performed the plays at the National Theater in Washington, D.C. 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. 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. In 1959, Havoc's first memoir, Early Havoc, was published. The New York Times critic called the book "spirited" and "entertaining." 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. 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. 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. Upon completion, the play Marathon '33 was performed in a workshop at the Actors Studio. David Merrick optioned the play for Broadway with Gower Champion set to direct. However, Havoc canceled the option, explaining that Merrick wanted to turn the play into a musical. 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.

Havoc then planned to present Marathon '33 in the Riviera Terrace ballroom, an actual dance hall. However, when the ballroom was sold, she agreed to present her play on Broadway. As director and choreographer, Havoc turned the stage at the ANTA Theatre into a dance hall. Marathon '33 proved to be a flop, opening on December 22, 1963, running for 48 performances and closing on February 1, 1964. 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. 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. 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."

In 1966, Havoc appeared as Millicent Jordan in an all-star revival of 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.”

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. In New Orleans, the professional theater company was named The Repertory Theatre, New Orleans (“the Repertory Theatre”). The program involved 48,000 high school students, who saw four plays each year after reading the plays in class. The productions included guest actors, such as Havoc, who portrayed Mrs. Malaprop in The Rivals, and also lectured in the schools.

After President Richard M. Nixon took office in January 1969, the federal funding ended. The Repertory Theatre sought to become self-sustaining and hired Havoc as the artistic director. She created a theater in a vacant 100-year-old synagogue, constructing a thrust stage with audience members seated on three sides. She also established an apprentice program for teenagers, an acting school, and a space for an African American theater group. Havoc was able to lure well-known actors to participate in productions, such as Julie Harris and Jessica Walter in The Women. After the 1970 season, Havoc resigned due to budgetary limitations. Her farewell production in November 1970 was The Skin of Our Teeth, with Havoc portraying Sabina and at age 58, performing on a trapeze 60 feet above the audience.

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. She continued in the role until the show closed after more than four years on January 2, 1983. 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. 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.

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 on the prestigious Theater Guild on the Air and Skylark on NBC Best Plays, to the more popular mystery program Suspense. Under the pseudonym Armana Fargey, she also appeared on episodes of The Adventures of Sam Spade and Suspense.

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. She starred in a weekly half hour series Willy during the 1954–1955 television season. 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. Lucille Ball had encouraged her to star in a weekly series, and the show was a Desilu production. Like I Love Lucy, Willy was filmed before a live studio audience. Her husband, William Spier, was the producer. Willy was broadcast on CBS at 10:30 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.

From the 1960s through 1990, Havoc appeared occasionally on such successful television series as The Untouchables, Murder She Wrote, McMillan & Wife, The Paper Chase, and The Outer Limits, as well as an arc on the popular soap opera General Hospital.

Personal life

Havoc was married three times. Her first marriage, at age 16, was in December 1928 to Bobby Reed, a boy in her vaudeville act. Her second marriage was to Donald S. Gibbs in 1936; they divorced in December 1942. Her third marriage, to radio and television director and producer William Spier, lasted from January 25, 1948 until his death in 1973. 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. 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. However, in her second memoir More Havoc, Havoc admitted that her daughter's father was Jamie Smythe, a marathon dance promoter. 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.

In 1947, Havoc was a member of the Committee for the First Amendment (“the FAC”), founded by 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 ( HUAC ). HUAC was conducting an investigation of Communist infiltration of the film industry prompted in part by the films Crossfire and Gentleman's Agreement, in which antisemitism was a focal point. 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. 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.

The FAC members, including Havoc, walked to the Capitol and attended the October 27 hearing. 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. They were treated to a raucous confrontation between Thomas and the subpoenaed witness, screenwriter John Howard Lawson. 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. Although the FAC members had planned to attend only one day of the hearings, they stayed a second day before returning to Los Angeles. On October 30, Thomas abruptly ended the hearings without calling several subpoenaed witnesses to the relief of the film industry. However, he threatened to reconvene the hearings. 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. As a result, movie box office receipts dropped 20%, and even established stars like Bogart were compelled to make public apologies. 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. 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.

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. 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. 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. 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.

Havoc supported Democrat Adlai Stevenson in the 1952 presidential election.

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.

Honors

Havoc received the Donaldson Award for best supporting actress in a musical comedy (Mexican Hayride) in the 1943–1944 Broadway season.

In 1960, Havoc was honored with two stars on the Hollywood Walk of Fame—one at 6618 Hollywood Boulevard for her contributions to the motion picture industry, and the other at 6413 Hollywood Boulevard for television.

Havoc was nominated for the Tony Award for Best Direction of a Play in 1964 for Marathon '33, which she wrote.

In 1971, Havoc received a Humanitarian Award from Bridgeport University, Bridgeport, Connecticut.

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.

In 2000, Havoc was inducted into the American Theatre Hall of Fame.

Legacy
The June Havoc Theatre, housed at the Abingdon Theatre in New York City, was named for her in 2003.

Havoc was the first American woman nominated for a Tony Award for direction of a play.

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. 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.

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.

Havoc's papers are held in the Howard Gotlieb Archival Research Center at Boston University, and a 28-page inventory is accessible online.

Selected Stage Work
(All shows on Broadway unless indicated otherwise.)

Acting

 * The Merry Widow (1936) Malita – St Louis Municipal Theatre
 * Bittersweet (1936) Dolly Chamberlain – St Louis Municipal Theatre
 * Forbidden Melody (1936)
 * The Three Waltzes (1938) Lilli – Jones Beach Stadium
 * Words and Music (1940–41) The National Theatre national tour
 * Pal Joey (1941) Gladys Bumps with Gene Kelly
 * Mexican Hayride (1944) Montana
 * Sadie Thompson (1944) Sadie Thompson
 * The Ryan Girl (1945) Venetia Ryan
 * 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 (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 (1966) Millicent Jordan with Walter Pidgeon
 * A Delicate Balance (1967) Claire – Philadelphia
 * The Rivals (1968) Mrs. Malaprop – The Repertory Theatre, New Orleans
 * Don Juan in Hell (1968) – Philadelphia
 * The Killing of Sister George (1968) June Buckridge (Sister George) – Philadelphia
 * Black Comedy/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 (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 (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

Directing
Artistic Director of The Repertory Theatre, New Orleans (1970)
 * 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 (1967) Westport Country Playhouse
 * A Delicate Balance (1967) Mineola Theatre & Tappan Zee Playhouse
 * Black Comedy / White Lies (1968) Mineola Theatre
 * I, Said The Fly (1973) Guthrie Theater, Minneapolis
 * Oh Glorious Tintinnabulation (1974) The Actors Studio
 * The Threepenny Opera (1970) The Repertory Theatre, New Orleans
 * Luv (1970) The Repertory Theatre, New Orleans
 * The Fantasticks (1970) The Repertory Theatre, New Orleans
 * 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

Features

 * Four Jacks and a Jill (1942) – Opal
 * Sing Your Worries Away (1942) – Roxey Rochelle
 * Powder Town (1942) – Dolly Smythe
 * My Sister Eileen (1942) – Effie Shelton
 * No Time for Love (1943) – Darlene
 * Hello, Frisco, Hello (1943) – Beulah Clancy
 * Hi Diddle Diddle (1943) – Leslie Quayle
 * Timber Queen (1944) – Lil Boggs
 * Casanova in Burlesque (1944) – Lillian Colman
 * Brewster's Millions (1945) – Trixie Summers
 * Intrigue (1947) – Mme. Tamara Baranoff
 * Gentleman's Agreement (1947) – Elaine Wales
 * The Iron Curtain (1948) – Nina Karanova
 * When My Baby Smiles at Me (1948) – Gussie Evans
 * 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) – Margie Foster
 * 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

Short subjects

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

Selected television work

 * 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) ("Three Maidens and the Devil / Happy Birthday, Aunt Sarah" 1953)
 * 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 (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! (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 ("The Larry Fay Story" 1960) – Sally Kansas
 * General Hospital (1963)
 * The June Havoc Show (1964) (cancelled after a few weeks)
 * The Outer Limits ("Cry of Silence" 1964) – Margaret Thorne with Eddie Albert and Arthur Hunnicutt
 * 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 ("The Clay Footed Idol" 1979) – Mrs. Margaret Peters
 * 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

Selected radio work

 * 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 ("Stand-In" June 12, 1947)
 * Suspense ("Double Ugly" August 28, 1947)
 * Hollywood Fights Back (October 26, 1947) herself
 * Suspense ("Subway" October 30, 1947)
 * Hollywood Fights Back (November 2, 1947) herself
 * Suspense ("Riabouchinska" November 13, 1947) narrator under the pseudonym Armana Fargey
 * Suspense ("One Hundred in the Dark" November 20, 1947)
 * Suspense ("Wet Saturday" December 19, 1947)
 * Suspense ("Black Angel" / "Eve" January 24, 1948)
 * Suspense ("Blind Date" September 29, 1949)
 * Cavalcade of America ("The Reluctant Pioneer" April 3, 1951)
 * NBC Best Plays ("Skylark" 1952)

Recordings

 * 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)

Plays

 * 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

Books

 * 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)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: June Havoc


text:
Gypsy Rose Lee

Gypsy Rose Lee (born Rose Louise Hovick, January 8, 1911 – April 26, 1970) was an American burlesque entertainer, stripper, actress, author, playwright and vedette famous for her striptease act. Her 1957 memoir was adapted into the 1959 stage musical Gypsy.

Early life
Rose Louise Hovick was born in Seattle, Washington, on January 8, 1911;  however, she always gave January 9 as her date of birth. She was known as Louise to her family. Her sister, actress June Havoc, was born in 1912. Their mother, Rose Thompson Hovick, forged various birth certificates for each of her daughters—older when needed to evade varying state child labor laws, and younger for reduced or free train fares. The girls were unsure until later in life what their years of birth were.

Their mother had married Norwegian-American John Olaf Hovick, a newspaper-advertising salesman and a reporter at The Seattle Times. They married on May 28, 1910, in Seattle. They divorced on August 20, 1915. Rose Thompson married her second husband, Judson Brennerman, a traveling salesman, on May 26, 1916, at a Unitarian church in Seattle, with the Rev. J. D. A. Powers officiating.

After Hovick and Brennerman divorced, June supported the family by appearing in vaudeville, being billed "Tiniest Toe Dancer in the World" when she was only $2 1/2$. Rose and June went to Hollywood for two years where June appeared in short films directed by Hal Roach. Louise was left behind while June and her mother were on the road. She had an elementary education, unlike June who was taught to read by stagehands. Much to her mother's displeasure, June eloped with Bobby Reed, a dancer in their act, in December 1928, after a performance in Topeka, Kansas, at the Jayhawk Theatre and went on to pursue a brief career in marathon dancing, a more profitable vocation than tap dancing.

Career
Louise's singing and dancing talents were insufficient to sustain the act without June. Eventually, it became apparent that Louise could make money in burlesque, which earned her legendary status as an elegant and witty striptease artist. Initially, her act was propelled forward when a shoulder strap on one of her gowns gave way, causing her dress to fall to her feet despite her efforts to cover herself; encouraged by the audience's response, she went on to make the trick the focus of her performance.

Her innovations were an almost casual stripping style compared to bump & grind styles of most burlesque strippers (she emphasized the "tease" in "striptease"), and she brought a sharp sense of humor into her act as well. She became as famous for her onstage wit as for her stripping style, and—changing her stage name to Gypsy Rose Lee—she became one of the biggest stars of Minsky's Burlesque, where she performed for four years. She was frequently arrested in raids on the Minsky brothers' shows. During the Great Depression, Lee spoke at various union meetings in support of New York laborers. According to activist Harry Fisher, her talks were among those that attracted the largest audiences.

In 1937 and 1938, billed as Louise Hovick, she made five films in Hollywood. But her acting was generally panned, so she returned to New York City where she had an affair with film producer Michael Todd and co-produced and appeared in his 1942 musical revue, Star and Garter.

Lee viewed herself as a "high-class" stripper, and she approved of H. L. Mencken's term "ecdysiast", which he coined as a more "dignified" way of referring to the profession. Her style of intellectual recitation while stripping was spoofed in the number "Zip!" in Rodgers and Hart's Pal Joey, a musical in which June Havoc had appeared on Broadway, opposite Gene Kelly. Lee performed an abbreviated version of her act (intellectual recitation and all) in the 1943 film Stage Door Canteen.

In 1941, Lee authored a mystery thriller called The G-String Murders, which was made into the sanitized 1943 film, Lady of Burlesque starring Barbara Stanwyck. While some assert this was in fact ghost-written by Craig Rice, there are those who claim that there is more than sufficient written evidence in the form of manuscripts and Lee's own correspondence to prove that she wrote a large part of the novel herself under the guidance of Rice and others, including her editor George Davis, a friend and mentor. Lee's second murder mystery, Mother Finds a Body, was published in 1942. In December 1942, preliminary papers alleging breach of contract were filed in the Supreme Court against Lee by Dorothy Wheelock, associate editor of Harper's Bazaar, alleging that in August 1940 she and Gypsy entered into what Wheelock described as "an oral agreement to collaborate on a joint venture involving the conception, construction, development, writing and exploitation of a literary work with a burlesque background. The agreement, Miss Wheelock went on, called for a 50:50 split on all income from sale of the book. She charged that she had lined up a publisher for the book when, in November 1940, Gypsy called off the collaboration… Lee said she turned over notes and other material to Miss Wheelock and that the latter had then written 'a sample book'. However this sample book is not the book that was published, Gypsy declared. She denied any resemblance between Miss Wheelock's book and the book published under her own name, except such similarities as might stem from the notes Gypsy turned over to Miss Wheelock. Simon & Schuster agreed to publish the book, Gypsy said, after the first three chapters were shown to them by Janet Flanner, a New York writer". The case was settled out of court.

Relationships
In Hollywood, Lee married Arnold "Bob" Mizzy on August 25, 1937, at the insistence of the film studio. She obtained a divorce in 1941, claiming cruelty, although biographer Noralee Frankel suggests the couple agreed that Lee could bring false charges so the divorce could go through uncontested. In 1942, she married William Alexander Kirkland; they divorced in 1944. While married to Kirkland, she gave birth on December 11, 1944, to a son fathered by Otto Preminger. Her son was named Erik Lee, but has since been known successively as Erik Kirkland, Erik de Diego, and Erik Lee Preminger. Gypsy married a third time in 1948, to Julio de Diego, but that union also ended in divorce.

In 1940, she purchased a townhouse on East 63rd St in Manhattan with a private courtyard, 26 rooms and seven baths. Mother Rose continued to demand money from Lee and Havoc. Lee rented a 10-room apartment on West End Avenue in Manhattan for Rose, who opened a boardinghouse for women there. On one occasion in the 1930s, Rose shot and killed a woman who was either a guest at the boardinghouse or a guest on the farm in Highland Mills in Orange County, New York, that Rose owned. A historical website cites varying reports of which place was the scene of the crime. According to Gypsy's son Erik Lee Preminger, who is the author of several books, the murder victim was Mother Rose's female lover, who had allegedly made a pass at Gypsy. The violent incident was investigated and reportedly explained away as a suicide. Mother Rose was not prosecuted. Mother Rose's biographer strongly rejects the possibility that this woman, Genevieve Augustine, was Rose's lover, and doubts Rose's complicity in her death in light of Augustine's previous suicide attempts. Rose Thompson Hovick died in 1954 of colon cancer.

Later years
After the death of their mother, the sisters felt free to write about her without risking a lawsuit. Gypsy: A Memoir was published in 1957 and served as inspiration for the Jule Styne, Stephen Sondheim, and Arthur Laurents 1959 musical Gypsy. June did not like the way she was portrayed in the piece, but she was eventually persuaded not to oppose it for her sister's sake. The show and the 1962 movie adaptation assured Gypsy a steady income. The sisters became estranged for a period of time but reconciled. June, in turn, wrote Early Havoc and More Havoc, to tell her version of their history.

Gypsy Rose Lee went on to host a daytime San Francisco KGO-TV television talk show,  The Gypsy Rose Lee Show (754 episodes, aired 1965–1968). The popular afternoon show featured such guests as Judy Garland, Agnes Moorehead, and Woody Allen, showcasing her love of people, pets and knitting among other interests.

Like well-known artists such as Pablo Picasso and Ernest Hemingway, Gypsy Rose Lee was a supporter of the Popular Front movement in the Spanish Civil War and raised money for charity to alleviate the suffering of Spanish children during the conflict. "She became politically active, and supported Spanish Loyalists during Spain's Civil War. She also became a fixture at Communist United Front meetings, and was investigated by the House Committee on un-American activities." Lee was a Democrat who supported the campaign of Adlai Stevenson in the 1952 presidential election. The walls of her Los Angeles home were adorned with pictures by Joan Miró, Pablo Picasso, Marc Chagall, Max Ernst, and Dorothea Tanning, all reportedly given to her by the artists themselves.

In 1969, she performed for American troops in Vietnam, who, she said, "considered her their sexy grandmother".

Death
Lee died of lung cancer in Los Angeles in 1970, aged 59. Upon her death, she left an estate valued at US$575,000 (US$4,000,000 in 2021). She is buried in Inglewood Park Cemetery in Inglewood, California.

Legacy

 * The song "Zip" from the musical Pal Joey, written by Richard Rodgers and Lorenz Hart, imagines the thoughts and musings that go through Gypsy Rose Lee's mind while she strips onstage as recounted by way of an interviewer who sings of their encounter with Miss Lee as being "the greatest achievement" she had had. Elaine Stritch regularly performed this song (as the interviewer) for many years.
 * Punk band The Distillers wrote "Gypsy Rose Lee", a song for their debut album in 2000.
 * In 1973, Tony Orlando and Dawn recorded "Say, Has Anybody Seen My Sweet Gypsy Rose" by W. M. Irwin Levine & L. Russell Brown. (The song refers to Lee's profession, but is about a fictional character with a similar name.)
 * In January 2012, Seattle Theater Writers (a group of arts critics for various publications) awarded the first Gypsy Rose Lee Awards, celebrating excellence in local theatre.
 * The Academy Film Archive has preserved a number of Lee's home movies, including behind-the-scenes footage from films in which she appeared.

Novels

 * The G-String Murders (New York: Simon & Schuster, 1941).
 * Mother Finds a Body (New York: Simon & Schuster, 1942).

Memoir

 * Gypsy: A Memoir (New York: Harper & Bros., 1957)

Plays

 * The Naked Genius (1943) (filmed and released as Doll Face in 1946). Her original title for the play was The Ghost in the Woodpile.

title: Gypsy Rose Lee


text:
Metamathematics

Metamathematics is the study of mathematics itself using mathematical methods. This study produces metatheories, which are mathematical theories about other mathematical theories. Emphasis on metamathematics (and perhaps the creation of the term itself) owes itself to David Hilbert's attempt to secure the foundations of mathematics in the early part of the 20th century. Metamathematics provides "a rigorous mathematical technique for investigating a great variety of foundation problems for mathematics and logic" (Kleene 1952, p. 59). An important feature of metamathematics is its emphasis on differentiating between reasoning from inside a system and from outside a system. An informal illustration of this is categorizing the proposition "2+2=4" as belonging to mathematics while categorizing the proposition "'2+2=4' is valid" as belonging to metamathematics.

History
Metamathematical metatheorems about mathematics itself were originally differentiated from ordinary mathematical theorems in the 19th century to focus on what was then called the foundational crisis of mathematics. Richard's paradox (Richard 1905) concerning certain 'definitions' of real numbers in the English language is an example of the sort of contradictions that can easily occur if one fails to distinguish between mathematics and metamathematics. Something similar can be said around the well-known Russell's paradox (Does the set of all those sets that do not contain themselves contain itself?).

Metamathematics was intimately connected to mathematical logic, so that the early histories of the two fields, during the late 19th and early 20th centuries, largely overlap. More recently, mathematical logic has often included the study of new pure mathematics, such as set theory, category theory, recursion theory and pure model theory, which is not directly related to metamathematics.

Serious metamathematical reflection began with the work of Gottlob Frege, especially his Begriffsschrift, published in 1879.

David Hilbert was the first to invoke the term "metamathematics" with regularity (see Hilbert's program), in the early 20th century. In his hands, it meant something akin to contemporary proof theory, in which finitary methods are used to study various axiomatized mathematical theorems (Kleene 1952, p. 55).

Other prominent figures in the field include Bertrand Russell, Thoralf Skolem, Emil Post, Alonzo Church, Alan Turing, Stephen Kleene, Willard Quine, Paul Benacerraf, Hilary Putnam, Gregory Chaitin, Alfred Tarski, Paul Cohen and Kurt Gödel.

Today, metalogic and metamathematics broadly overlap, and both have been substantially subsumed by mathematical logic in academia.

The discovery of hyperbolic geometry
The discovery of hyperbolic geometry had important philosophical consequences for metamathematics. Before its discovery there was just one geometry and mathematics; the idea that another geometry existed was considered improbable.

When Gauss discovered hyperbolic geometry, it is said that he did not publish anything about it out of fear of the "uproar of the Boeotians", which would ruin his status as princeps mathematicorum (Latin, "the Prince of Mathematicians"). The "uproar of the Boeotians" came and went, and gave an impetus to metamathematics and great improvements in mathematical rigour, analytical philosophy and logic.

Begriffsschrift
Begriffsschrift (German for, roughly, "concept-script") is a book on logic by Gottlob Frege, published in 1879, and the formal system set out in that book.

Begriffsschrift is usually translated as concept writing or concept notation; the full title of the book identifies it as "a formula language, modeled on that of arithmetic, of pure thought." Frege's motivation for developing his formal approach to logic resembled Leibniz's motivation for his calculus ratiocinator (despite that, in his Foreword Frege clearly denies that he reached this aim, and also that his main aim would be constructing an ideal language like Leibniz's, what Frege declares to be quite hard and idealistic, however, not impossible task). Frege went on to employ his logical calculus in his research on the foundations of mathematics, carried out over the next quarter century.

Principia Mathematica
Principia Mathematica, or "PM" as it is often abbreviated, was an attempt to describe a set of axioms and inference rules in symbolic logic from which all mathematical truths could in principle be proven. As such, this ambitious project is of great importance in the history of mathematics and philosophy, being one of the foremost products of the belief that such an undertaking may be achievable. However, in 1931, Gödel's incompleteness theorem proved definitively that PM, and in fact any other attempt, could never achieve this goal; that is, for any set of axioms and inference rules proposed to encapsulate mathematics, there would in fact be some truths of mathematics which could not be deduced from them.

One of the main inspirations and motivations for PM was the earlier work of Gottlob Frege on logic, which Russell discovered allowed for the construction of paradoxical sets. PM sought to avoid this problem by ruling out the unrestricted creation of arbitrary sets. This was achieved by replacing the notion of a general set with notion of a hierarchy of sets of different 'types', a set of a certain type only allowed to contain sets of strictly lower types. Contemporary mathematics, however, avoids paradoxes such as Russell's in less unwieldy ways, such as the system of Zermelo–Fraenkel set theory.

Gödel's incompleteness theorem
Gödel's incompleteness theorems are two theorems of mathematical logic that establish inherent limitations of all but the most trivial axiomatic systems capable of doing arithmetic. The theorems, proven by Kurt Gödel in 1931, are important both in mathematical logic and in the philosophy of mathematics. The two results are widely, but not universally, interpreted as showing that Hilbert's program to find a complete and consistent set of axioms for all mathematics is impossible, giving a negative answer to Hilbert's second problem.

The first incompleteness theorem states that no consistent system of axioms whose theorems can be listed by an "effective procedure" (e.g., a computer program, but it could be any sort of algorithm) is capable of proving all truths about the relations of the natural numbers (arithmetic). For any such system, there will always be statements about the natural numbers that are true, but that are unprovable within the system. The second incompleteness theorem, an extension of the first, shows that such a system cannot demonstrate its own consistency.

Tarski's definition of model-theoretic satisfaction
The T-schema or truth schema (not to be confused with 'Convention T') is used to give an inductive definition of truth which lies at the heart of any realisation of Alfred Tarski's semantic theory of truth. Some authors refer to it as the "Equivalence Schema", a synonym introduced by Michael Dummett.

The T-schema is often expressed in natural language, but it can be formalized in many-sorted predicate logic or modal logic; such a formalisation is called a T-theory. T-theories form the basis of much fundamental work in philosophical logic, where they are applied in several important controversies in analytic philosophy.

As expressed in semi-natural language (where 'S' is the name of the sentence abbreviated to S): 'S' is true if and only if S

Example: 'snow is white' is true if and only if snow is white.

The undecidability of the Entscheidungsproblem
The Entscheidungsproblem (German for 'decision problem') is a challenge posed by David Hilbert in 1928. The Entscheidungsproblem asks for an algorithm that takes as input a statement of a first-order logic (possibly with a finite number of axioms beyond the usual axioms of first-order logic) and answers "Yes" or "No" according to whether the statement is universally valid, i.e., valid in every structure satisfying the axioms. By the completeness theorem of first-order logic, a statement is universally valid if and only if it can be deduced from the axioms, so the Entscheidungsproblem can also be viewed as asking for an algorithm to decide whether a given statement is provable from the axioms using the rules of logic.

In 1936, Alonzo Church and Alan Turing published independent papers showing that a general solution to the Entscheidungsproblem is impossible, assuming that the intuitive notation of "effectively calculable" is captured by the functions computable by a Turing machine (or equivalently, by those expressible in the lambda calculus). This assumption is now known as the Church–Turing thesis.

title: Metamathematics


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Maximilian Bircher-Benner

Maximilian Oskar Bircher-Benner, M.D. (22 August 1867 – 24 January 1939) was a Swiss physician and a pioneer nutritionist credited for popularizing muesli and raw food vegetarianism.

Biography
Maximilian Oskar Bircher-Benner was born on 22 August 1867 in Aarau, Switzerland, to Heinrich Bircher and Berta Krüsi. He attended the University of Zurich to study medicine, and later opened his own general clinic.

During the first year the clinic was open, Bircher-Benner developed jaundice, and he claimed he recovered by eating raw apples. From this observation, he experimented with the health effects raw foods have on the body, and from this he promoted muesli; a dish based on raw oats, fruits and nuts. Bircher-Benner expanded on his nutritional research and opened a sanatorium called "Vital Force" in 1897. He believed raw fruits and vegetables held the most nutritional value, cooked and commercially processed foods held even less, and meat held the least nutritional value. Eventually, Bircher-Benner gave up meat entirely and became a vegetarian. Other scientists of the time did not respond well to what Bircher-Benner referred to as his "new food science," but was sufficiently popular with the general public that he expanded his sanatorium practice.

His nutritional habits and eating patterns steadily grew in popularity until he died on 24 January 1939 in Zürich.

Nutrition
At his sanatorium in Zürich, a balanced diet of raw vegetables and fruit was used as a means to heal patients, contrary to the beliefs commonly held at the end of the 19th century. Bircher-Benner believed raw foods were more nutritious because they contain direct energy from the sun. He encouraged people of good health to eat approximately 50% raw foods on a daily basis, and for those with poor health to eat 100% raw foods. Bircher-Benner's sisters, Alice Bircher and Berta Brupbacher-Bircher, created many recipes using raw foods to help a diet of raw foods seem more appealing. Because of this help from his sisters, his sanatorium gained enormous popularity and he expanded the size of his clinic.

Bircher-Benner postulated eating fruit, vegetables and nuts instead of meat. He also advocated a spartan physical regime. At his Zürich sanatorium off Bircher-Benner-Platz, the patients had to follow a somewhat monastic daily schedule including early bedtime (21:00), physical training and active gardening work. Each meal began with a small dish of muesli, developed by Bircher-Benner, followed by mostly raw vegetables and a dessert. Patients were not allowed to consume alcohol, coffee, chocolate or tobacco while they were being treated. Bircher-Benner also recommended his patients to sunbathe, take cold showers and use a medicinal bath developed by American physician John Harvey Kellogg. His theory of life was based on harmony between people and nature, a key component of a German lifestyle reform movement, and the reason he named his clinic "Vital Force."

Criticism
Bircher-Benner held pseudoscientific ideas about nutrition, including vitalism. He believed that all people including babies should eat only raw food. Bircher-Benner developed the idea that cooking deprived foods of their nutritional content and destroyed their "vital substance". He believed that cooked foods leave decay in the digestive tract, that may cause autointoxication.

Bircher-Benner's work was not recognized by other scientists until the discovery of vitamins in fruits and vegetables in the 1930s. Because his ideas about nutrition were not supported by the science of his day, he was dismissed as a quack by the medical profession. A contemporaneous academic review of Bircher-Benner's cookbook Health-Giving Dishes claims that the work contains "a mixture of physiological half-truths and fantasies" and concludes that the number of people capable of eating solely raw fruits and vegetables as Bircher-Benner encouraged is limited because only few humans can live as herbivores. Thomas Mann, a well-known novelist, visited the sanatorium and described it as a "health jail."

Despite disapproval from others, Bircher-Benner's ideas caught the public's eye and his sanatorium stayed in business until some time after his death.

Legacy
Shortly after his death, a second sanatorium was opened and named "People's Sanatorium for a Lifestyle Based on Nature," and was run according to Bircher-Benner's ideas. In 1939, the Vital Force clinic was renamed the "Bircher-Benner Clinic" in his memory. In the late 20th century, after closure of the sanatorium, it was briefly a student hostel. It has since been purchased by Zürich Financial Services, and is named the Zürich Development Center. It is used for executive training, and also houses an extensive private art collection.

Several brands of factory-made cereals based on Bircher-Benner's original recipe for wholegrain-fruit-and-nut muesli are widely marketed as popular breakfast and snack foods in Europe and North America.

Selected publications

 * Food Science For All (translated by Arnold Eiloart, 1928)
 * Fruit Dishes and Raw Vegetables: Sunlight (Vitamine) Food (1930)
 * Health-Giving Dishes (1934)
 * The Essential Nature and Organisation of Food Energy (translated by D. E. Hecht and E. F. Meyer, 1939)
 * Hijos sanos y robustos (traducion del Dr. Emilio R, Meier, 1956)
 * The Prevention of Incurable Disease (translated by E. F. Meyer, 1959)

title: Maximilian Bircher-Benner