April 1960
Opening act: Sasha Distel

May 1960
Assorted venues

16 June, 1960
Tivoli Glassalen
Copenhagen, DENMARK

June 1960
San Raphael, FRANCE
Salon de Provence, FRANCE
Assorted other venues, FRANCE

July 30, 1960
Palm Beach Gala
Cannes, FRANCE

August 6-7, 1960
Comblain-la-Tour, BELGIUM

15 October, 1960
La Mutualité
Gala Des P.T.T.

November 3, 1960
Olympia Theatre
PETULA CLARK, Bob Azzam Et Son Orchestre, Jean-Claude Darnal, Charlie Cairoli, Limbos Dancers, Les Balcombes, Tags Brothers, Del Rey And Winnie, Shaller Bros

21 December, 1960
Le Maillon's Club, Eden
Mouscron, Wallonia, BELGIUM
Avec Marcel Amont

Capitol Theatre
Horsham, England, UK
New City Jazzmen

Winter Gardens
Bournemouth, England UK


January 1961
London Palladium
London, England UK

March 1961

April 1961

June 6, 1961
Palais de Challot
Private engagement for U.S. President John F. Kennedy & French President Charles de Gaulle.

19-24 June, 1961
Room at the Top
Hereford, Essex, England UK

25 June, 1961
Wintergardens, Margate, Kent, UK

23 July, 1961,
Winter Gardens,
Bournemouth, England UK
PETULA CLARK, Valetta Iacopi, Ronald Hill, Jack Byfield, Max Jaffa, Reginald Kilbey

Summer, 1961
Assorted venues
PETULA CLARK, Jean-Claude Darnal, Edmond Taillet, Pierre Nival, Les Mickel's, Les Menchassy Bros


March 18, 1962
A.B.C. Theatre
Le Havre, France
PETULA CLARK, Richard Anthony, Jean-Claude Darnal, Paulette Zoiga, Michel Berty, Marcel Blanche, Claude Richard & Partner, Les Rollys Sisters.

April 1962
Granada Theatre
Bedford, England UK
PETULA CLARK, Emile Ford And The Checkmates, The Allisons, Susan Singer, The Kestrels, The Trebletones
Photo courtesy of Gloria Saunders

June 19, 1962
Room at the Top
Ilford, Essex, England UK

August 12, 1962

November 21, 1962
Olympia Theatre
Henri Salvador, Jean-Claude Brialy, PETULA CLARK, and Sacha Distel

31 December, 1962
Sporting Club
Monte-Carlo, MONOCCO


21 August, 1963
Parco degli Ulivi Del Casino
Taormina, Sicily, ITALY
Canzoni Nel Mondo 1963

22 September, 1963
Castrocaro Terma e Tera Del Sole
Emilia-Romagne, ITALY
Concorso Nazionale Voci Nuove Per La Canzone 1963

27 November, 1963

Grenoble, FRANCE

Bagarette Club


January 1965
Montreal, CANADA

April 6-20, 1965
Paris Olympia

June 1-2, 1965
June 3, 1965
June 5, 1965
June 6, 1965
June 12, 1965
June 19, 1965
June 20, 1965
June 26, 1965
July 1965
July 8, 1965
July 10, 1965
July 11, 1965
July 13, 1965
July 14, 1965
July 15, 1965
July 16, 1965
July 19, 1965
July 22, 1965
July 29, 1965
August 4, 1965
August 6, 1965
August 7, 1965
August 8, 1965
August 10, 1965
August 11, 1965
August 12, 1965
August 22, 1965
August 27, 1965
Knokke, Belgium
Knokke, Belgium
Trouville, FRANCE
La Reole, FRANCE
Choisy, FRANCE
St. Ouen, FRANCE
St. Michel, FRANCE
Knokke, Belgium
Dieppe, FRANCE
St. Malo, FRANCE
La Baule, FRANCE
Brussels, Belgium
Choisy, FRANCE
Plombieres, FRANCE
Ajaccio, FRANCE
Corsica, FRANCE
Frejus, FRANCE
St. Laverne, FRANCE
Hyeres, FRANCE
Vic-sur-Cere, FRANCE
Ostende, FRANCE
Perpignan, FRANCE
Song List: Ya Ya Twist, Romeo, Chariot/I Will Follow Him, I Gotta Travel On, Dance On, Foottapper, etc.
Knokke August 29, 1965

S.P.A. - July 1965

Knokke June 5, 1965

All photos courtesy of Gloria Saunders

June 11, 1965

August 9, 1965
Monte Carlo

August 28-29, 1965

September 1, 1965
Monte Carlo

October 14 - 27, 1965
New York City, New York, USA
Opening Act: Lee Tully

October 20, 1965
REVIEW: Petula at the Copa

Petula Clark, who clicked with her "Downtown" disking for Warner Bros., is making her nitery debut and indicates she can be a staple on the circuits. Miss Clark, with a petite gamine look and personality, is a devotee of "the beat," but knows enough to put away childish ways for her stand at the Jules Podell hospice. She's been in UK and overseas variety tours for some seasons, but to the fore more vie for her recent disc clicks.

Miss Clark's mien is that of a youngster clawing her way to womanhood. The background of the beat is tempered: Her outlook on a tune coincides a great deal with the viewpoint of the audience. She has an adult presentation, sophisticated only in the sphere of arrangements, but down-to earth in presentation and manner. The mode of her act is clearly stamped in her initial presentation, "Getting to Know You,' to which she handles a complex vocal and tune pattern with extreme skill. This bundle from Britain entered the good graces of the audience with this number, and through others, such as the more recent "l Know a Place," the Allan Sherman lyrics of "Only for Americans," a French medley and her finale "Downtown," gave the audience ample reason to applaud and welcome a personality who will rate return dates.

"Petula's debut is a Swinger" .
British singer Petula Clark, making her American nightclub debut at the Copacabana, is a snappy little blonde who should be around long after her first big pop hit, "Downtown" is forgotten. By the end of her opening night act, she had the crowd yelling for more, something the generally blase Copa crowd doesn't do often. For one thing she can sing, whether she's belting out "Round Every Corner" or putting over a softened "I Want to Hold Your Hand" ("since I knew the Beatles wouldn't be here tonight"). Better yet, she can sing with style. Her treatment of a quartet of songs from My Fair Lady makes it easy to imagine her sparkling on a Broadway musical. "You realize you own New York, don't you?" a ringsider noted politely. It's one way of summing up Miss Clark's sale of 20 million records and a limitless future. Sharing the bill is Lee Tully, one of the better topical comics around.

"Pet Clark: How to Win Friends by Sheer Talent"
NEW YORK - Petula Clark, whose first name is pronounced Pet-u-la, her friends call her Pet, will undoubtedly win a lot of new friends, thanks to her current, two-week appearance the the Copacabana. It's her first engagement at the nitery, but more interesting than that, she is doing her initial English-sung appearance at a nitery in four years. With her big disc success, the diminutive bundle of considerable talent hasn't been seen in a nightclub outside of FRANCE, where, it should be recalled, she really hit the big-time.

Not that she's neglecting French, mind you, for one of her charming numbers at the Copa is a French lyric reading of "Hello, Dolly" and there's a "La Vie en Rose" tribute to the late Edith Piaf among others. However, she often makes the engaging most out of her native England background, singing her English-cut hits "Downtown," "I Know a Place," "Round Every Corner," a medley from My Fair Lady and a fascinating bluesy treatment of "If I Ruled the World" from Pickwick the English musical that just opened here.

And in her haunting salute to her fellow countrymen, the Beatles, she does "I Want to Hold Your Hand" ballad-style. which makes the tune sound good music all the way. Ending her act with a rollicking treatment of Frank Loesser's "If I Were a Bell," Pet makes it even more apparent that she rings the bell as a singing artist who ranks with the best on the scene today.

Also, Irving Berlin's "Only for Americans" which originally kidded tourist traps in Paris, is done with a new London-locale lyric by Allan Sherman. It's delightful.

November 2 - 22, 1965
Reno, Nevada USA

November 10, 1965
REVIEW: Petula at Harold's Club (Reno, Nevada)

     Enthusiastic payees did everything except stand up and cheer at the Coast preem of English chirper Petula Clark at Harold's Club last Tuesday. It was a noisy evening for the packed house and was continually interrupted with whistles and applause during numbers.
      Miss Clark's gimmick here is her pro stage manner. Energy sparkles from her eyes. She doesn't try to be anything except Petula. a pale little girl from England who can't understand why payees are so enthusiastic, but is pleased by it. She makes her appearance in a black and white gown which extends to the floor. It is very unbecoming. The black makes even more striking her very white complexion and blond hair. The low neckline accentuates her frail frame.
      Her rendition of "Only for Americans" is appropriate. It is a light-hearted spoof on how Americans embrace British goods (including entertainment) that the English themselves disdain. She does it well. At the first show, Miss Clark drew a standing ovation, something this reviewer has never seen at Harold's Club. A few attempted to start a similar demonstration at the second performance.
      She essays 15 numbers in her 50-minute set. It is a well-balanced songalog, again disclosing her show biz savvy. She does a medley from My Fair Lady and caps the session with wild versions of "Downtown," "Hello. Dolly" and "Round Every Corner." The audience acclaim for her distinctive stylings assures her a return engagement in the Reno-Lake Tahoe circuit. It was her first date in the Western states and only the second time in the US.

December, 1965
The Forum


February, 1966

March 1966

March 14 - 20, 1966
Comédie-Canadienne Montreal, CANADA

Photos by Daniel Bédard

March 1966
Capitol Theatre
Ottawa, CANADA

April 5, 1966
Civic Centre
Rimouski, Quebec, CANADA

April 19- May 3, 1966
Coconut Grove, Ambassador Hotel
Los Angeles, California, USA
Song List: Round Every Corner, Getting to Know You, Sign of the Times, I Know a Place, I Want to Hold Your Hand, Just Say Goodbye, Only for the Americans, Downtown, If I Were a Bell, If I Ruled the World, Medley from My Fair Lady, La Vie en Rose, Mademoiselle de Paris, Hello Dolly, My Love, For All We Know.

Diana Dors, Tony Newley, Petula, Tony Franciosa, Natalie Wood

April 21, 1966
REVIEW: Petula at the Coconut Grove
(Los Angeles, CA) by Hank Grant

      Making her West Coast nitery debut at the Coconut Grove, Petula Clark should do turn-away business in her short two-week stand. On her jam-packed Tuesday night opening, she proved one of the few singers extant who can make adults listen to rock -n- roll and love it. She should, therefore, not only attract the high school and college crowds, but also businessmen and dowagers for whom the frenetic beat is usually anathema, but not in her case. Unlike her "pop" contemporaries, Miss Clark affects no cheap gimmickry in either vocal style or costume. Indeed, she's a very attractive blonde who, from her polished demeanor, wouldn't have surprised anyone if she'd burst into an operatic aria. She didn't, of course, because she's a pop singer all the way with the added gift of showmanship that conveys the comfortable feeling she enjoys singing so much she'd do it without pay, if need be.
      Within her 50-minute turn she concentrates mostly on the rock -n- roll beat, but not to the exclusion of change-of-pace ballads ("If I Ruled the World") or comedy touches ("Only for Americans"). She also appears to be quite a linguist, singing at least two familiar tunes in French and Italian, and her versatility was undoubted when she sat at the keyboard to pound out her own composition, "Two Rivers." In sum, she's not only an ear-and-eye pleaser, but she has an engaging personality with a facility for warm chatter that never seems forced or affected, thus getting easy audience laughs for comedy asides that seem more like personal confidences than flip attempts to be funny. Included in her turn, of course, were several of her record identification hits, most notably "Downtown." Doubling at the piano, her conductor Frank Owens led the Dick Stabile orchestra with faultless precision, and if the brass at tmes was ear-shattering, well, there's no such thing as pianissimo rock -n- roll.
      Anthony Newley was on hand to intro Miss Clark after a rousing overture in which Dick Stabile took his sax in hand to lead his band through an exciting arrangement of 'When the Saints Go Marching in."

April 27, 1966
REVIEW: Petula at the Coconut Grove (Los Angeles, CA)
      What on earth is Petula Clark doing in the Ambassador's Coconut Grove? You'd be surprised. Among other things, the British-born pop singer is doing her hit Warner Bros. platters with the same vitality that has put her over with the young crowd. Also, she displays an onstage youthful freshness and enthusiasm which belies her longtime overseas show biz career, yet, in perspective, could only be the result of such an extensive background. Her new nitery turn has its ragged edges, but a little more time and grooming will polish her into a big-time, big room attraction.
      Hotel prexy G. David Schine has hit his second straight home run, a few weeks ago with Don Ho, who brought a relaxed informal saloon intimacy to the huge Grove, and now with Miss Clark. Her basic 35-minute turn touched a lot of bases, scoring warm mitts each time, with the responses even greater for her platter reprises.
      (The) gal's diction is crisp and clear, she is at ease physically, and her patter, while nervous at the onset, and occasionally flip, beckons more assured in time. Her pitch is sure, and delivery generally overcomes an apparent lack of sustaining power. Miss Clark needs better organized patter, and should discard an occasional tendency to be overstylized, particularly on slower ballads. Pianist Frank Owens directed the 15 tooters in solid support, using first-rate arrangements; his own keyboard work is a big asset.

May 13, 1966
Elliot Hall of Music, Purdue University,
W. Lafayette, Indiana, USA
With Count Basie & his Orchestra

May 14, 1966
Arie Crown Theatre
Chicago, Illinois, USA
With Count Basie & his Orchestra

June 6 - July, 1966
Savoy Hotel
London, England UK
Month long engagement.

In rehearsal with musical director Frank Owens

15 September, 1966
Auditorium Eugenio Diviani
Salice Terma, ITALY
Festivalbar 1966

October 13-26, 1966
Copacabana, New York City
New York, USA
Opening act: Howard Storm

October 19, 1966
REVIEW: Petula at the Copacabana (New York, NY)
      In her second time around at this spot, British songstress Petula Clark again demonstrates striking impact as a nitery performer. Although Miss Clark became known to US audiences via her string of disc clicks, the high polish of her act bespeaks her many years of trouping in England and on the Continent before she ever had a platter hit.
       Miss Clark delivers a consistently socko songalog that both rocks the teen set and captivates the adult safegoer. She hits with equal force on the rhythmic contemporary ballads, notably her trademark "Downtown" and "I Know a Place;" and then reverses field with supercharged dramatic renditions of "Our Love Is Here to Stay" and "Just Say Goodbye."
       Her routine touches all bases. She romps through a superlative, madrigal like take-off on the Beatles'"I Want to Hold Your Hand," and then puts on a humorous display of linguistic fluency with her renditions of songs in German, French, Italian and American, latter being a typical latter-day rocker. Her special material numbers are also standout, including a sharp comment on her native land in "Typically English" and another playful piece regarding the pronunciation of her name. Miss Clark did about an hour opening night (October 13) to a jammed house and had to beg off.

October 29, 1966
"Petula Clark Puts On a Happy, Winning Act at Copa Nitery"
      Marking her second appearance at the Copacabana, Petula Clark made a splashy entrance with her special lyric interpretation of "Put On a Happy Face" before a packed room that overflowed onto the dance floor on opening night last week.
       The tiny Warner Bros. recording star with her magnetic quality, wistful humor and dynamic song style won the audience thoroughly, combining her recorded hits with a well-balanced program of standards and special material. She was equally at home with a fresh Latin beat treatment of "Our Love Is Here to Stay" and an emotional reading of "I Want to Hold Your Hand," as she was with her own hits, "I Know a Place" and "Downtown." Her compelling personality and sheer enjoyment of performing was obvious throughout her song stint, which included a clever and original "My Name Is Petula." In this number she related how she has been "mispronounced around the world" and it allowed her to sing in German, French and Italian. Her powerful voice was at its best in an emotion packed ballad, "Just Say Goodbye," and in her own original "Two Rivers," in which she accompanied herself at the piano and told the lyric content of her English background and her marriage to a Frenchman. A moving piece of material indeed.
       Her accompanist, Frank Owens, did a top job handling the 14-piece orchestra. After introducing her song partner from England, Tony Hatch, Miss Clark wowed the audience with a medley that ran from "In a Shanty in Old Shanty Town" to "Dear Hearts and Gentle People" and led up to the closing strains of "Downtown."

October 29, 1966
"Talent on Stage: Petula Clark"
NEW YORK - The rhythm of the day is being splashed about with uncommon excitement at the Copacabana, where England's Pet Clark has started her second engagement at the nitery. With an entourage of Warner Bros. and foreign execs witnessing her opening performance, the artist offered her disk hits plus nitery specialties with an abundance of energy that belies her petite form.
True, the sounds often seemed like recording takes, especially those coming from the augmented Copa orchestra. Or perhaps it's just that this lass has the knack of suggesting that her delivery in person is as dynamic as that achieved through studio magic. (One of her performances, in fact, was taped for an eventual album release.)
Pet, as pre-" Downtown" admirers well know, has a fine jazz -directed voice. Fortunately, her nitery act revives this skill with several numbers, including "Put On a Happy Face" and "You'd Be So Nice to Come Home To." Her rendition of 'Typically English" from Stop the World, I Want to Get Off indicative of a talent who can shine on the musical-comedy stage. In fact, Pet stacks up as the teen-beat's charming answer to Julie Andrews.

November 1-5, 1966
The Blue Room at the Shoreham
Washington D.C., USA

November 1, 1966
"Petula is a Pixie with a Delicious Act"
by William Rice

      There's more than just a touch of magic about Petula Clark. A charming pixie with a fountain of blonde hair that insists on cascading over her forehead, she pops on stage at the Shoreham's Blue Room and gently but completely captivates her audience. From dress to face to the complete Petula, she is pink and pale and very pretty. She stands on stage, small and even a little wistful. Then Frank Owens, her talented pianist-conductor, motions the orchestra to life and Petula reacts like the lamest of thoroughbreds at the sound of a hunting horn. She radiates such complete confidence, such verve, that she can even turn her back for several moments, in the manner of the matador, without causing the least distraction. But this is a confidence untainted by cockiness. She swings, not kinky, but with a wonderful beat and infectious touches of humor. Hers is a happy act and it leaves one with a pleasant afterglow.
       Her songs, naturally, include "Downtown" and the marvelously rhythmic "I Couldn't Live Without Your Love." But she can give a distinctive reading of ballads such as "Our Love Is Here to Stay" and "Come Rain or Come Shine," and even wipe the cotton-candy triteness away from "Dear Hearts and Gentle People." On opening night, there were some awkward moments, perhaps from nervousness at the beginning of the act when her gestures seemed stilted and artificial, and she took on the wrong Beatles song in "I Want to Hold Your Hand." It just didn't work as a small ballad. But these were only the smallest of dents in a whipped cream topping. The act beneath is as lovely and delicious as a superb strawberry pie. That Miss Clark will be here only tonight and Saturday is nothing short of criminal. I hope she will return.

November 23-December 7, 1966
Caesar's Palace
Las Vegas, Nevada, USA
Woody Allen (headliner)
Brascia & Tybee

November 30, 1966

REVIEW (excerpted):
Petula at Caesar's Palace (Las Vegas, NV)
Woody Allen and Petula Clark may not have the marquee value of most top-liners who play the Strip, but their performances opening night are certain to get the good word spread, and before their two-week stint is over, the newcomers could be the talk of the town. And, of course, when impresario Dick Victorson brings them back their lure will be greatly magnified. Miss Clark, tiny, blonde Britisher, was inevitably aimed at Las Vegas after her "Downtown" disc click -- it took a long time but it was well worth the wait. Her crystal-clear tones have a fine quality of lyric-consciousness, and her flexible range is most pleasant. She is delightfully animated, and has the knack of immediately winning her audience. "Getting to Know You," in which she tells the audience how much she likes the USA, is her charming ice-breaker. She includes "Come Rain or Come Shine," "Call Me," "l Couldn't Live Without Your Love," "Just Say Goodbye" and, naturally, "Downtown." She gets a laugh with a bit of special material written for her by Allan Sherman called "Only for Americans," also from her complaint-in-song about how her name is mispronounced. "It's Pe-toola." she says, "But you can call me Pet." Many of her new fans will take her up on that.

December 26, 1966-January 2, 1967
Reno, Nevada, USA
Opening Act: The Four Stepbrothers

December 28, 1966
REVIEW: Petula at Harold's Club (Reno, NV)
      For her first encore trek to Harold's (she initialed here in November, 1965,) Petula Clark demonstrates much Americanization has been absorbed in the interim -- and it is all used to plus advantages as she tees this month-long playback. Debut in Harold's intimate Fun Room last year was her first US nitery date, and an auspicious one. Current stanza portends the same: full and enthusiastic houses. The year past has given her generous exposure among the Yankees -- disks. videos, niteries -- and she's more acquainted with this side of the Atlantic, as evidenced in her chatter and voiced affection for her coast-to-coast endorsements.
       That tousled coiff, the freshly scrubbed countenance, the at-ease demeanor -- all land her a distinction that has made her the darling of the adult cafe set as well as of the teens who've established her as a big-selling wax artist. Gowned in pink and chirping through a diamond-studded mike, she creates tenor of what's to come with "Put On a Happy Face." Her 45 minutes of songmanship is happy-bent, albeit she intersperses titles of sorrow and lament with the rock -n- roll themes. Gesticulations are reserved to interpret the lyric, and she is fully conscious of mood creativity -- whatever the lines suggest.


January 13, 1967
Diablo Valley College
Pleasant Hill, California USA

March 30, 1967
Northern Arizona University
Flaggstaff, Arizona, USA

Beseiged in her dressing room in Flagstaff,
Petula signs concert programs for her many fans,
young and old.

March 30, 1967
Gammage Auditorium
Arizona State University
Phoenix, Arizona, USA

Petula Fans Respond to Bouncy Beat
by Robert E. Golden

      A vibrant, vivacious Petula Clark bounced her way into the hearts of nearly 3,000 fans last night at Grady Grammage Auditorium. "An Evening with Petula Clark" sparkled with zest and vitality -- a nearby spectator observed, "She has so much oomph!"
      After skip-running on-stage wearing a sheikish white gown, petite Petula started it all with "Getting to Know You" and continued on with her hit recording of "I Know a Place," followed by her original arrangement of My Fair Lady songs.
      The singer was duly impressed with the auditorium. Having just bussed down from a concert at Northern Arizona University's gymnasium, she commented in her so-typically British accent, "As gymnasiums go, this is really quite an elaborate one."
      Although she balanced her selections well, she did seem much more comfortable with fast tempo, big-beat numbers, the type of tunes nearly all her hits have been. These songs, which included "Downtown," "Who Am I?," "Colour My World," "Round Ev'ry Corner," were so zingy that much of the audience picked up the mood by tapping their feet, mouthing the words and applauding the loudest.
      Despite her 33 years, the pint-size blonde packs as much bounce, swing and hipness as any of her younger mod contemporaries. And she's proud of it, too.
      Of the Beatles, she said, "They're really a great bunch of fellows. They're very nice and always seem to be one jump ahead of everyone else." As a salute, she sang a slowed-up version of "I Want to Hold Your Hand" that paid more tribute to the group than her introduction.
      She said she had gotten the impression that Americans thought her to be a "wayout rock-n-roll singer." To satisfy the image, she sang "Call Me" and "You're the One." To demonstrate that she really wasn't at all that stereotyped, she did a range of selections that included "Put on a Happy Face," "If I Ruled the World," "Come Rain or Come Shine," a My Fair Lady medley, plus a song each in French, Italian and German.
      The audience reaction to the show was delightful to watch. Predominantly ASU students, they picked up momentum as Miss Clark's spunk and energy caught on. Nobody seemed lackadaisical or disappointed with the performance, and rightly so.

April 2, 1967
Municipal Auditorium
Long Beach, California, USA

April 5, 1967
Memorial Auditorium
Sacramento, California USA

April 16, 1967
Memorial Coliseum
Portland, Oregon USA

April 28, 1967
White House Correspondents Dinner
Sheraton Park Hotel, Washington DC, USA
Private engagement.

Petula with American Vice-President, Hubert Humphrey.

July - August 1967
  • Chico State College, Chico, California USA
  • Cow Palace, San Francisco, California USA
  • Medford, Oregon USA
  • Portland, Oregon USA
  • Seattle, Washington USA
  • Moscow, Idaho USA
  • Missoula, Montana USA
  • University of North Carolina at Chapel Hill, North Carolina USA
US College Tour


In rehearsal

Washington Hilton Hotel
Washington, D.C. USA

Circa 1967

O'Keefe Center
Toronto, CANADA

Backstage at the O'Keefe Center
Toronto, CANADA
November 1967

Program Notes

      Petula Clark, the dainty English lass who took the whole world "Downtown" on wings of song is acknowledged to have sold more records as a singing star than any other girl in the world of international entertainment.
      Every since her dazzling North American success as a singer, the girl who was a British child star at the age of seven had a secret ambition--to make a motion picture in Hollywood. With 25 British films behind her she was more than equipped for the task.
      This dream was realized when Petula stepped before the cameras at Warner Brothers Studio to co-star with Fred Astaire in the movie version of the hit Broadway musical, "Finian's Rainbow". Petula plays "Sharon", the pert daughter of Astaire's "Finian", and she sings the haunting, "How Are Things In Glocca Morra". The picture will be released next year.
      Pet, probably the most successful and popular British-born entertainer since The Beatles, has in less than a year appeared on every top-line television variety show and in every major night club in the United States. This year, she also launched an annual month-long tour of colleges to give concerts to the students.
      A five-foot tall blonde with blue eyes, Petula is a singer who appeals to all age groups. The kids love her when she belts their kind of songs and the adults sit silent in delight as she sings a popular ballad.
      Today, Pet is the most popular international songstress in the world. She now has it all: Grammys for two years in a row. . .winner of the coveted Cash Box award for "Number One Female Vocalist of 1966" . . .every new album and single a million seller--a top guest star on every major television variety show in the United States and Europe. . .the most in-demand female night club entertainer in the U.S., toplining such clubs as the Copacabana in the East and the Cocoanut Grove in the West. . .a standing-room-only draw when performing in-concert at universities, state fairs and other personal appearances from Algeria to L.A. . . a featured stage and motion picture actress . . . a swinging English dynamo, respected and active in all fields with a world seal of approval.
      Pet boasted European record sales of over twenty-five million when Warner Brothers first obtained, in 1964, the right to release her hits on this continent. Her U.S. record debut stated with "Downtown" which became an overnight hit and won for her the coveted Grammy award in 1965. The Grammy was unanimously hers again in 1966 as a result of her recording of "I Know a Place". Every recording has climbed to the top of the national music charts, disc purchasers ranging in age from six to sixty. Her record sales in the U.S. alone have now raced past the five million mark.
      America's discovery of Pet came second to her European recognition as perhaps their greatest international star. A multi-linguist, she has had in the past few years the Number One hit record (with different songs) in Denmark, Germany, Switzerland, Holland, England, FRANCE and Italy, a success story unequalled in recording history.

      Pet was born Petula Sally Clark in Epsom, England, on November 15. The name Petula ultimately was shortened to the nickname Pet, and when still a young girl, the B.B.C. in London presented the blonde, blue-grey eyed little girl with the big voice for the first time to their network audience. Pet soon became a regular on the network singing and reciting poems, making over 500 appearances.
      Several years later, she signed a film contract, and starred in twenty-five films with such stars as the late Kay Kendall, Peter Ustinov and Alec Guiness. Her cinema career has always placed second to her recording career which began with her first single recording at the age of seventeen.
      With her new recording career, Pet began her wide travels as an artist, first into Holland, then farther into the continent, starring on radio, TV, and making numerous public appearances. European audiences were enthralled with the pert English girl whose voice and songs seemed to speak everyone's language. Following her first English hit, "With All My Heart"*, she had to study French in order to record her hit tunes in French and to effectively perform them in front of a Gallic audience.
      After her first major public appearance in FRANCE at the Alhambra and a subsequent appearance at the Olympic* Theatre in Paris, English audiences had to share with the French their special affection for this versatile, interntational bundle of talent. Soon her program of songs could be composed entirely of her hit singles. The delighted French people expressed their appreciation for her musical prowess by awarding her the Grand Prix National de Disque Francais.
      Aided by her marriage to French public relations executive Claude Wolff, Pet's bi-national reputation became firmly cemented. Claude and Pet immediately merged their careers, he becoming her personal manager. In 1962 Pet and her husband welcomed the birth of her first daughter Barbara Michele and a year later their second daughter Catherine Natalie.
      Their world travels, due to Pet's constant schedule of activity, represent the ultimate in international living. Presently the family maintains residences in FRANCE, England, Switzerland and the United States. During vacations and occasional free hours, they love to snow ski and browse through antique shops scouting articles for their antique collection. Pet's clothes are casual and mod and her musical tastes a combination of the current and the classical.

Editor's Note:
*Information is inaccurate:
Petula never recorded With All My Heart.
The Olympic Theatre in Paris is actually the Olympia.
Frank Owens' name is misspelled.


6 September, 1968
Salone Del Linta Park Hotel
Asiago, ITALY
Festivalbar 1968

18 November, 1968
London Palladium
London, England UK
Royal Variety Performance
in the presence of her Majesty Queen Elizabeth, the Queen Mother, Princess Anne, Prince Charles, and Princess Margaret's husband, Lord Snowdon.
PETULA, Diana Ross & the Supremes, Engelbert Humperdinck, Sacha Distel, Val Doonigan, Arthur Askey, Des O'Connor, Frankie Howerd, Ron Moody.

The Queen Mother greets Florence Ballard of the Surpremes, while Frankie Howerd and Petula look on.

December 1968
Grand Theatre
Geneva, Switzerland


April 18-19, 1969
The Coliseum
Jackson, Mississippi, USA

April 21, 1969
The Spectrum
Philadelphia, Pennsylvannia, USA
Benefit for Henry F. Ortlieb charities.

April 22, 1969

Petula Clark Sings for Ortlieb Charities
by Daniel Webster

     Petula Clark, the girl who made "Downtown" one of pop music's most fashionable addresses, sang downtown Monday. She bobbed on stage at the Spectrum, a slim blonde in glittering white, to sing a solo program with Frank Owens' big band.
      Although it was her first Philadelphia show, her singing was right at home. Plymouth Rock is her style, a blend of her English pertness with the belting style that grew up here in the colonies.
      She sings of love and people, not of protest and sociology, and she sings of love in a voice that is solid, pliant, ingratiating and warm.
      It hits hardest at full volume, and her songs, even the sentimental ones like "I Want to Hold Your Hand," come to that big rhythmic style somewhere before the final bars.
      In her chatty progress around the square stage, she sang tunes from My Fair Lady, Finian's Rainbow and Charles Chaplin's "This Is My Song." But it was "Hey Jude," her own "Las Vegas," "I Want Your Love," "Games People Play" and "I'm Going Places" that made her downtown audience move.
      The audience was adoring, but sedate and small for the Spectrum. She was singing for the Henry F. Ortlieb Charities. She bolstered the gifts to the American Cancer Society with a $5,000 check of her own.

May 16, 1969
The Masonic Auditorium
Detroit, Michigan , USA
Opening Act: Drummer Buddy Rich

May 17, 1969
Public Hall
Cleveland, Ohio, USA
Opening act: Drummer Buddy Rich

May 19, 1969

5,500 Enchanted by Petula Clark
by Glenn C. Pullen

     Buddy Rich's orchestra was just window-dressing in the pop concert it opened Saturday night at Public Hall under sponsorship of WJW Radio and Belkin Productions.
      Rich, a fiery drumming genius, and his 15-piece crew blazed through powerhouse rhythms that drew only a few ripples of applause from about 5,500 listeners. It was a crowd of passionately loyal Petula Clark buffs who apparently do not care a hang for rock, soul or hot jazz music.
      They saved all their hand-clapping for the British singing wonder-girl whose radiant voice has captured awards for best-selling discs on both sides of the Atlantic. Petula proved she was worthy of this adoration.
      Her tasteful one-woman show was filled with lovely songs executed with a rare kind of bewitching lyric individuality. This tiny blonde singer, who appeared in a pink sheath dress plus a silver and purple jacket, hurdled several handicaps in the huge auditorium.
      There were some complaints from the people in rear balcony seats about the faulty sound amplifying system. It was not so noticeable on the lower floor. Petula magically created an air of endearing intimacy as her clear, elfinish voice came lilting through "This Girl's in Love with You," "I Know a Place" and her other prize-winners.
      Compared to most American song-belters, she was an audience spoiler. Her showmanship had the grace of her delicate gestures as she easily moved around the big stage with a portable microphone. And although many of her numbers were standards, they were given a sparkling new rainbow coloration by her whimsical personality and British wit.
      That musical-comedy talent, which she displayed in about 30 movies, was delightfully expressive in her Cockney delineations in a My Fair Lady medley. A 25-piece orchestra, built around her own group and many of Buddy Rich's musicians, were responsible for a lush-toned accompaniment.
      Conducted deftly by Frank Owens, the ensemble never overrode her ruefully gentle voicings of "Yesterday," "My Love," "Glocca Morra" and the theme song from Goodbye, Mr. Chips. That was one of her last movies in which she co-starred with Peter OToole.
      Petula's concert was made more charming by her habit of describing the origin of her selections. This trick brightened her spoofing of English music hall performers and American rock -n- roll femme singers. Two of her brightest pieces of satire were take-offs on a French chanson murdering "Hello, Dolly" and a British opera prima donna who suddenly loses her voice.
      Miss Clark made a comment about the mechanization of modern music after delivering nearly 30 songs with enchanting near-perfection.
      "I think many young rock vocalists are too one-sided in attitude," she said backstage. "They are not well-rounded entertainers when they fail to communicate their ideas to older people as well as the youthful generation of rebels."

May 19 - June 1, 1969
O'Keefe Center
Toronto, CANADA


May 26 - June 1, 1969
Place des Arts
Montreal, CANADA


July 15 - August 6, 1969
Caesar's Palace
Las Vegas, Nevada, USA
Opening Act: Comedian George Kirby

Caesar's Marquee

Magazine advertisement

July 1969
Pet Tames Vegas Throng With Song
by John L Scott

LAS VEGAS - She's five feet tall and weighs 94 pounds and when she walked onto the huge stage at the Caesars Palace with three dozen musicians back of her she looked like a little girl lost.
      But when Petula Clark started to sing she became 10 feet tall.
      This mighty mite of song kept a capacity first night audience (approximately 1,000) cheering for her all the way through a program that included several of her record hits, numbers from her two recent pictures, Finian's Rainbow and the as yet unreleased MGM - Arthur Jacobs production, Goodbye, Mr. Chips, in which she co-stars as the wife of Peter O'Toole; and other tunes, old and new.
      In a medium where so many song stars sound like so many other song stars, Miss Clark stands out like that well-known lighthouse. She sounds only like Petula Clark and if you've ever heard her in person or listened to one of her many recordings, you know what I mean. "Pet" hasn't the greatest singing voice in business, but with it she builds an excitement that won't quit.
      Actually this engagement at Caesars Palace, which runs through Aug. 6, after which Miss Clark will be followed by another Britisher of note, Anthony Newley, is only her fourth nightclub appearance in the United States. Finian's Rainbow and Goodbye, Mr. Chips kept the diminutive singer-actress busy for two years.
      "I found I couldn't do anything else when I was making those pictures," she told me. "Except, of course, a command performance in London—-a must. I don't believe I want to do another marathon film which can tie me down. Three months is enough to spend before movie cameras at one stretch, because I love to work before live audiences and then there's always recording work, too."
      Miss Clark continued: "Don't ask me about dates or money or commitments." Then she relented a bit and revealed that she's very interested in a film script written by Rod McKuen based on his poem 'Stanyan Street.' "It would be sort of dramatic," she explained, "with songs and poetry of course."
Commitment at Harrah's
     After Miss Clark completes her engagement at Caesars she'll fulfill a commitment at Harrah's in Northern California, then record in Hollywood. "After that, we'll see," she said. "Of course we'll take our two children, Kate, 6, and Barbara, 7, back to school in Geneva, Switzerland, where we live, in the fall." Wearing a striking blue crepe dress and brocade coat (she shed the outer garment after a number or two), Miss Clark opened her show with a swinging "This Girl's in Love with You." She sang Tony Hatch's "l Know a Place," and "Don't Sleep in the Subway," the Lennon and McCartney "Fool on the Hill"; "You and I," her new Warner single from Goodbye, Mr. Chips (Leslie Bricusse), a special material number, "My Name Is Petula," in German, Italian, French and English; "Yesterday"; a medley of My Fair Lady songs; "Hey Jude" and, of course, the rocking "Downtown," which first brought her to the attention of U.S. record buyers. Miss Clark also scored with Charlie Chaplin's "This is My Song." Frank Owens conducted the orchestra.
      George Kirby, talented storyteller, singer, pianist and dialectician, preceded Miss Clark to the stage in a rousing display of his many talents. His jolly demeanor and solid comedy material brought heavy applause.

August 8, 1969
Ohio State Fair
Columbus, Ohio, USA
Photos by Gary Schmidt

Ohio State Fair
August 29, 1969

Photo by Ted Wyler

August 10 - 27, 1969
Lake Tahoe, Nevada, USA
Opening Act: Magician, Blackstone, Jr.

Harrah's Tahoe
August 10-27, 1969

According to KTHO-AM-FM DJ Bill Kingman - who recorded a radio interview with Petula mid-way through the run - her closing night performance was particularly thrilling. She received a long standing ovation from the audience and then turned around to find the entire Brian Farnon Orchestra also standing and applauding her. She burst into tears at the sight, exclaiming, "Me lashes are falling out!" while clutching a huge bouquet of red roses from Harrah's.

29 October, 1969
Royal Albert Hall
London, UK
This concert was televised in two parts by BBC TV and the second half opened the BBC 1 colour tv service on 15 November, 1969. Musical highlights are available on CD.

Royal Albert Hall
October 29, 1969


Ticket stub


November 14, 1969
The Auditorium
Chicago, Illinois, USA

November 17-29, 1969
Empire Room Waldorf-Astoria
New York City, USA

Photo courtesy of Music Director Frank Owens

November 19, 1969
REVIEW: Petula at the Waldorf-Astoria, New York

      "This should be known as The British Empah Room," remarked Petula Clark during her opening at the Waldorf-Astoria. She's right, you know. She's the third Briton to play the inn's Empire Room during the early part of the season - the others were Shirley Bassey and Anthony Newley.
      The current British invasion is by far the most swinging since 1812. The hotels, cafes, one-nighters and other media have taken on a British accent of late, and virtually all are huge box-office. In Miss Clark's case, she'll continue this trend, especially now that her picture Goodbye, Mr. Chips has started its run. In the past it was her records that gave her a passport to major box-office. Now she has two media working for her.
      Miss Clark is somewhat of a bridge between the generation gaps. She digs the mind and songs of youth, and she also knows what the elders are thinking about, so she can speak to both factions in their own terms. She hits [a] new crop of cafe-goers with products from Tony Hatch and other writers favored by her, and she reminds the elders of the songs which they have revered throughout the years in some biting satire. Her medley of oldies harking back to the old-fashioned waltz sung in glissando to the variety of Latin beats had a lot of digs and made some of the old-line customers realize that their tune tastes were not top-notch either. Even though this medley should have been edited down, it served the valuable purpose of squaring off the new songs, particularly in Miss Clark's style, with the generation that normally picks up the check.
      Miss Clark sings with taste, charm and with a universal appeal. Much of her work is light and some quite dramatic, but she totes up strong points, especially during the latter part of her turn. Her vocal ideals are as precise as her singing. She combines a feel for both melody and lyric; neglecting neither is the exposition of a tune's totality. She took several tunes to enter this state of grace, but having arrived at it comparatively early in her act, she did no wrong with this audience. Even the memory of Mrs. Miller didn't spoil "Downtown" for her.

November 29, 1969
Photo courtesy of Music Director Frank Owens
REVIEW: Petula at the Waldorf-Astoria
by Ian Dove

       Petula Clark, once a mild-mannered British lady singer but now a professional entertainer at home in sophisticated settings in several countries and several languages, opened at the Empire Room, Nov. 17 -"British Empire Room," she termed it, alluding to the fact that previous performers have been Shirley Bassey and Anthony Newley, part of the under-publicized British nightclub invasion as opposed to the beat revolution.
       The Reprise singer presented an act that contained all her best material from the last six or seven years, all refined down to smooth professionalism. She went from "Downtown" to her current song from Goodbye, Mr. Chips, a wistful Leslie Bricusse piece.
       Three Beatles tunes (two ballads), one Charlie Chaplin, some Tony Hatch -- these are the kinds of writers Petula Clark chooses. She doesn't rely on the over-familiar ("For Once in My Life") type of nightclub standards and her act is improved because of this. On opening night she fought successfully a bout of laryngitis.

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