Joel Grey starts the evening with a reprise of his tried and proven nitery act, an act which never fails to impress with its theatrical flourishes and the apparently limitless versatility of its star.
Petula Clark quickly dispenses with her medley of well-known hits. Centerpiece of this Clark edition is a mini-musical tribute to Broadway and some of its best parts for leading ladies. Petula jumps in and out of costumes, character and songs in saluting the roles of Annie Oakley, Charity Valentine and Mary Magdalene. She's enchanting, enticing, witty and charming, in addition to having more obvious talents as a singer and dancer. Petula dances quite a bit in this show, including a surprise rendition of "Baby Face" disco-style and "I've Got the Music in Me."
Petula is accompanied, and most impressively at that, by her quarter of male singers-dancers called "Friends" -Larry Coles, Jeff Holland, Jerry Evans and Kim Michaels (It's Tim, actually.)-who also get to showcase their individual and collective talents. Allan Carr and Claude Wolff are Petula's producers. Harold Wheeler is musical director and arranger. Steve Merritt rates special praise for his direction and choreography, and Bob Mackie (of course) whipped up the stunning wardrobe.
Petula Clark and Joel Grey team to give the Versailles Room a pleasant hunk of music, song and dance laced with levity.
Clark has worked Vegas enough to realize she thinks it's a terrible place (polite applause), but after she gets that speech off her chest she plunges into her usual entertaining turn which might even make most locals forgive her. (Another European expatriate, Marcel Legrand, now at the Sahara, also tells of his dislike of Vegas, but he's not quite so vehement as Clark, possibly because this is his first visit.)
Friends quarter (Lany Coles, Jeff Holland, Jerry Evans, Tim Michaels) are ideal stagemates for Clark with their top-drawer singing and dancing. Three unbilled femme singers contribute neat blends to the Clark tones. She does costume changes for her Annie Get Your Gun, Sweet Charity, Jesus Christ Superstar and "Baby Face" salutes, all to good effect. Steve Merritt's choreography is imaginative, and Harold Wheeler's conducting of the Dick Palombi orchestra is smooth.