Compiled by Jim Pierson. Updated by Laurie Parsons Zenobio





Featured in an episode of this weekly dramatic series.

TV Guide
December 17-23, 1955

Beauty Knows No Boundaries

Cosmopolitan is The Word
For Actresses in 'The Vise'

ABC's The Vise stresses suspense. However, there's one angle--or perhaps, curve--of each program that viewers can predict: a beauty is bound to pop up. Only question: from where: The show is filmed in Britain but the girls are imported from almost every English-speaking country in the world in one of TV's most ambitious bits of global glamor casting.

England is the home of Petula Clark, a former child star of the British stage and movies, now frequently on TV.

From Ireland comes Eunice Gayson, who made TV debut previously when wed on Bride and Groom.

From Malaysia: Carol Day whose parents operated a rubber plantation, is from Kuala Lumpur in the Malay States.

From Canada to Hollywood to England is the route taken by Kay Callard, who appears on TV and British stage.

Tonypady, Wales is where Marian Collins, singer as well as actresss, was born. She also is on the London stage.




Host: John Conte.
Starring: Mantovani and his Orchestra. Guest star: Petula Clark performed St. Tropez.




Teenage musical show.
Guests: Petula, Donna Loren, Glen Campbell, Bobby Sherman, Dave Clark Five, The Kinks, Gerry & the Pacemakers, The Rolling Stones, Bobby Vee, Roosevelt Grier, Merlin Olsen, The Walker Brothers.

      This show features a combination of live and lip-synced performances by popular music acts. Highlights of this, the first-ever hour-long Shindig!, include the following: the Kinks start off the show with their hit "You Really Got Me"; and later perform the follow-up "All Day and All of the Night"; in solo performances, Glen Campbell performs Roy Orbison's "Crying," and Petula Clark delivers her hit "Downtown"; the Dave Clark Five perform their hits "Because" and "Glad All Over"; Gerry and the Pacemakers offer up their ballad "Don't Let the Sun Catch You Crying"; and hitmaker Bobby Vee performs "Cross My Heart" and a cover version of "Early in the Morning." In an unusual performance, Roosevelt Grier, the Los Angeles Rams star tackle, sings "I (Who Have Nothing)" and performs "Since You've Been Gone" with three members of his team. In other highlights, Jackie and Gayle perform "Yakety Yak"; Donna Loren sings "10 Good Reasons"; Bobby Sherman performs; and the Rolling Stones lip-sync "Heart of Stone."
Host: Jimmy O'Neill
Music Groups:
Dave Clark Five, Gerry and the Pacemakers, Rolling Stones, The Kinks The Wellingtons, Jackie and Gayle, The Blossoms , Walker Brothers,
Singers: Bobby Vee Petula Clark Donna Loren Bobby Sherman Glen Campbell Also featuring: Grier, Roosevelt "Rosey" Lamar Lundy, Merlin Olsen, Jones, David

      ABC-TV's teenage musical show, "Shindig," has moved up from 30 to 60 minutes, and has at least doubled its entertainment impact. The hourlong version bowed last Wednesday night (20) with a neat lineup of pop disk names and combos working within a topflight production that kept the stanza rocking and rolling, musically and visually for the full running time.
      Producer Jack Good, a Briton, is obviously hip to the teenage sound. There was no adulteration of the show's style and flavor by the introduction of "adult" ballads or instrumentals. It was strictly go, go, go with British U.S. combos and soloists with some ace backing by a young dance troupe who turned the swim, monkey, watusi et al. into a colorful kaleidescope of contemporary hoofology.
      The long roster of young singers were excellently paced. Standout were Petula Clark's "Downtown," Donna Loren's 10 Good Reasons," Glen Campbell's "Mean Woman Blues" and varous other numbers by Bobby Sherman, the Walker Bros., Jackie & Gayle and Bobby Vee. Roosevelt Grier, Los Angeles Ram linesman, also carried the ball with a couple of remarkably good vocals, accompanied by three of his teammates in a combo tagged The Fearsom Forsome.
      Echoing the pop charts, the show also heavily accented the British rocking combos, spotlighting the Dave Clark Five, The Kinks, Gerry & the Pacemakers and the Rolling Stones. From the U.S. crewcuts to the British mophairs, the show really swung.

VHS video



Host: Paul Anka
Guests: Petula, Marvin Gaye, The Everly Brothers , Jay and the Americans, Cliff Bennett and the Rebel Rousers, Bill Dana, Rocky Roberts and the Airedales. Downtown



Guests: Petula, Nancy Walker, Bert Lahr.
Downtown, I Know A Place



Guests: Petula, Rudolf Nureyev, Dame Margot Fonteyn, Alan King, Sue Carson.
I Know A Place, Heart


      Ed Sullivan cut a wide artistic swath on Sunday's (16) rendition of his show over CBS-TV. The major event, no matter what age group Sullivan books for, was the Royal Ballet's Rudolf Nureyev and Margot Fonteyn, and for the less-classically inclined there was Britain's Petula Clark.
      The tandem of Nureyev and Dame Margot in the pas-de-deux from "Swan Lake" has excited U.S. balletomanes during their current tour. The new production of this dance effort provides a wider range of interpretation. Nureyev opened with the first act solo and Dame Margot followed with a later solo after which they combined for some of the top dancing of the season. In each instance, they displayed a variety of moods encased in skilled dancing. Nureyev's vitality and Dame Margot's delicacy provided a tandem that does Sullivan and video great credit.

     Another highlight was the oration of Alan King on the reverse twist of parental interference with the kids. He took the viewpoint that the Little League should be a youthful endeavor rather than a project in which the parents' participation overshadows that of the kids. He made his points with wit and humor, and per-usual to the delight of the listeners.
      Petula Clark, one of Britain's top femme singers who clicked with her "Downtown" disking is another reason why the juve market is jumping. She has an exciting voice and although the chirping was designed for the blue-jeans set, she has the potential to click for adults.
      Another comedy act was Sue Carson, but it wasn't her night. She has done much better in niteries but switched her script for tv. There was a brief bit of juggling by Hugo Carido, tumbling by the Elwardos and the West Point Glee club provided a stirring start with their rendition of a grou of Civil War Songs.






Petula, The Bitter End Singers, Gary Lewis and the Playboys, Cliff Bennett and the Rebel Rousers, Gary Brento Weis.
In Love



Guests: Petula, the Supremes, Woody Allen, Wayne Newton.
Round Every Corner, A Foggy Day



Host: Johnny Carlson
I Couldn't Live Without Your Love



Petula hosts. Guest: Noel Harrison.
Downtown/I Know A Place, Knees Up Mother Brown ( with Harrison), Round Every Corner



Late night chat show hosted by Johnny Carson.
I Couldn't Live Without Your Love



Guests: Petula, Glenn Yarbrough, Sammy Kaye.
My Love, Mademoiselle de Paris




Vaudeville-inspired variety program
Guest host: Fred Astaire
Guests: Petula, Fred Astaire, Mickey Rooney.
My Love, My Fair Lady medley

Guest host Fred Astaire presides over this program and opens with "Let's Call the Whole Thing Off" and "They All Laughed." Program highlights include the following: The Lenz Chimps, an animal act; comedian Ray Hastings with a routine about bachelors; Barrie Chase dances; The Nitwits perform their comic orchestra spoof, and are joined by Astaire in "Temptation"; Petula Clark sings "My Love" and a "My Fair Lady" medley; The Black Theatre of Prague does a pantomime routine; Mickey Rooney and Bobby Van perform a political satire and a song-and-dance number; Astaire and Chase dance.

Fred Astaire - Guest Host
Guests:Petula Clark, Mickey Rooney, Barrie Chase, Bobby Van, Ray Hastings , The Nitwits, The Black Theatre of Prague, The Lenz Chimps



Guests: Petula, Nancy Sinatra, Gary Lewis & the Playboys.
My Love, A Sign Of The Times, I Want To Hold Your Hand



     Shebang was a 1960s teen music & dance TV show hosted by Casey Kasem. It was broadcast in color from Hollywood, California and, like "Bandstand," artists were invited to perform their latest records. Casey talked with the teenagers in the audience and interviewed the "happening" people of the day. U.S. TV show. This date marked a special celebration of Shebang's one-year anniversary.
      Lots of artists and celebrities drop by to surprise Casey and wish him well on Shebang's first anniversary. Dick Clark, Don Grady, Dean Torrance, Bobby Sherman, Donna Loren, Eddie Hodges, Jewel Akens, Dick and Dee Dee, more!
      Live in-person performers: Eddie Hodges "New Orleans". The kids dance to these records: Tom Jones "It's Not Unusual", Branda Holloway "When I'm Gone", The Beatles "Eight Days A Week", Petula Clark "I Know A Place", Gary Lewis and The Playboys "Count Me In", Shadows of Knight "Gloria", The Supremes "Stop, In The Name Of Love", Sandie Shaw "Girl Don't Come", The Temptations "My Girl".



Guests: Petula, the Animals, Jimmy Durante.
A Sign Of The Times, Just Say Goodbye

Debut of A Sign of the Times

With Jimmy Durante



Grammy Award Show
Host: Bob Hope
Guest stars: Petula, Herb Alpert & the Tijuana Brass, Bill Cosby, Anita Kerr Singers, Roger Miller, Tony Bennett, Robert Goulet, Duke Ellington, Diahann Carroll, Godfrey Cambridge, Henry Mancini, Bill Dana, Rowan & Martin.
Going Out Of My Head

With various artists and hosts Exec Producer: Ted Bergmann
Producer: George Schlatter
Writer: Mort Lachman Musical Director: Les Brown
60 Mins., Mon.(16), 9 p.m.
NBC-TV (color tape)

"The Best on Record," the disk industry's counterpart of the Oscar (film) and Emmy (tv) awards shows, again presented a generous sampling of this year's Grammy winners as tagged by the National Academy of Recording Arts & Sciences in non-telecast ceremonies last month. This Grammy show may lack the element of surprise in unveiling the "bests" in each category, but it has the definite advantage of being entertainment.
      This year, "Best on Record" came up with a topflight roster of disk performers supplemented by a distinguished lineup of show biz names who introduced each act. Students of pop music might cavil at the somewhat gilded picture of the contemporary disk scene which this show presented. There was, for instance, not a single vocal combo, shaggy or otherwise, to be seen on the show and the heavy influence of the rhythm blues genre on the current disk sound was nowhere to be heard.
      However, the available talent for this hour added up to a first-rate musical outing spiced by some nifty comedy as supplied by the hosts. Bob Hope, a veteran of the Oscars, was on hand to kick off this show with some good-natured needling of the disk industry and the Grammys.
      The show smoothly pieced together the several segments showcasing each of the disk acts. Bill Dana introduced Herb Alpert's Tijuana Brass who played two numbers in their widely imitated trumpet-trombone-chile sound.

      Petula Clark, brought on by Rowan & Martin, was given an excellent setting for her hit vocal of "Goin' Out of My Head." In general, production values surrounding each of the performers had a major league quality.
      Comedy disk LP winner Bill Cosby introduced by Steve Allen delivered an anecdote about Sheldon Leonard and his wife. It was okay but strung out somewhat too lengthily. Henry Mancini brought on the Anita Kerr Singers who dished up one of their award winning choral arrangements of "Dreamsville."
      Roger Miller, one of the heavy=weight names of the current disk biz along with the Tijuana Brass was ushed on by Bobby Darin and delievered two of his hits, "King of the Road" and "I've Been a Long Time Leaving" both his own numbers. "King of the Road" turned up later in the form of "Queen of the House" another 1965 click by Jody Miller who was introduced by Godfrey Cambridge. Latter's humor had a trace of Stepin' Fetchit in its self-depreciation.
      Perry Como bowed on Tony Bennett for the latter's rendition of "The Shadow of Your Smile" while Diahann Carrol introduced the Duke Ellington orch for its rundown of "Satin Doll", Don Adams had one of the top laugh bits on the show with his "Get Smart" routine, a prelude to Rober Goulet's singing of "On a Clear Day."
      For the finale, Dinah Shore was on hand to present the special Golden Achievement Award by NARAS to Duke Ellington. Ellington obliged by leading his orch in "Don't Get Around Much Anymmore," with Tony Bennett delivering a powerhouse vocal. Like the rest of show, it was swinging, not rocking.



I Know A Place, A Sign Of The Times



Afternoon teen music show
Downtown, I Know A Place, My Love, I Want To Hold Your Hand, A Sign Of The Times






The Thirty-first of June, My Love



Moving on (in French)



Guests: Petula, Marianne Faithfull, Paul Revere & the Raiders.
I Want To Hold Your Hand



Look-alike contest.



Guests: Petula, Goro Sakuri & the Blue Jeans, Paul Revere & the Raiders. I Know A Place , Round Every Corner



Guests: Petula, The Thomas Group, Paul Revere and the Raiders
Just Say Goodbye, Downtown



Guests: Petula, Richard Pryor, Allan & Rossi, Berosini Chimps.
Who Am I, Come Rain Or Come Shine





Guests: Petula, Steve Allen, Eddy Arnold.
Dear Hearts And Gentle People , I Will Wait For You (with Andy), Medley of Steve Allen songs (with Williams, Allen, Arnold)






Who Am I, Medley with Roger (Chug-a-lug/Dang Me/You Can't Roller-skate in a Buffalo Herd/ /England Swings/My Uncle Used To Love Me But She Died)



Host: Danny Kaye.
Guests: Petula, Stanley Holloway
Who Am I, Two Rivers, You Do Something To Me medley (with Danny), English Music Hall medley ( with Danny, Stanley Holloway)



Host: Victor Borge.
Guests: Petula, Jean Pierre Aumont, Marisa Pavan.
Strangers In The Night, Without A Song



I Know A Place, A Sign Of The Times, A Foggy Day




Don Ho's opening night performance at the Cocoanut Grove in Hollywood was broadcast as a television special. Petula was spotted in the audience and was called up on stage and coaxed into performing Downtown. She gamely did so, losing one of her dangling earings en route back to her seat.

. . . Opening night [Don} managed to get a few of our top names up on stage, and they actually performed. Were they mesmerized by Don's magnetic charm? Who knows. We just know that he's a lot of fun rolled up with mucho entertainment, and Ricardo Montalban, Pat Boone, Petula Clark and Roger Smith, all performed for the amiable, relaxed Don Ho before they knew what they were doing.
Belle Greenberg




Guests: Petula, The Rolling Stones, Allen Sherman.
Colour My World, Elusive Butterfly



Guests: Petula, Jack Jones, Dino, Desi and Billy
Downtown, For All We Know, Get Happy/Good Times medley (with Dean)

Get Happy/Good Times medley



Host: Jack Benny
Guests: Petula, Johnny Mathis, Gloria Chappell, Ernie Terrell, Brascia & Tybee, the Nitwits.
Winchester Cathedral, This Is My Song

Hollywood Palace
      Jack Benny made his "Palace" bow on last week's stanza as guest host in what shaped as another well-paced spread from his vaudeo staple. High on the bill with Benny was fighter Ernie Terrell and his combo with a nice folk-rock turn, keyed, of course to the pug's Monday (6) bout with the great Cassius.
      Benny jelled nicely with the support acts and via an engaging fiddle segment which paired him with violinist-teacher Gloria Chappell.
      Otherwise, Johnny Mathis counted with a "Man of La Mancha" medley, and Petula Clark, minidressed, charmed with "Winchester Cathedral" and Charles Chaplin's "This is My Song" (from "Countess from Hong Kong"). The femme's bit with Benny, however, re the comle's yesteryear receptions in Limelyland, reprised some trite hokum in dull fashion.
      Also, Brascia & Tybee, a standard ballroom duo with no discernible finessse; and the Nitwits, funny visual group, formatted as a mock chamber music outfit.

with Jack Benny







Petula, Bobby Darin, The Supremes, Count Basie and His Orchestra, The Doodletown Pipers
Where Or When, Thou Swell, Spring Is Here, On Your Toes, Any Old Place With You (with Bobby), medley of obscure Rodgers & Hart songs (with Bobby), Mountain Greenery (with cast.)

REVIEW: Rodgers & Hart Today (ABC Stage 67)

      It seems beyond a doubt that the concept of this network musical special - giving ultra-modern interpretation to Rodgers and Hart's great catalog of legit musical standards - was the most original of the season. The show also was the best musical of the year in execution.
      Producer Dick Lewine indeed backed his idea with three of the brightest acts on today's pop music scene -namely, Petula Clark, The Supremes and The Mamas and Papas. Even The Doodletown Pipers, a mixed choral group which has made several TV appearances this year without distinction made a marked impression with "Slaughter on Tenth Avenues under the musical direction of Quincy Jones and with the backing of Count Basie's big band. But focus properly and finally went to Miss Clark, The Supremes and The Mamas and Papas as they lent their singular and fresh stylistics - and most notable musical gifts - to the rich and abundant R&H book. This was particularly a showcase for Miss Clark, whose vocal style and projection has a firm grasp on contemporary pops along with a subtle strain of Blighty music hall

professionalism. The prismatic talents of the "Downtown" girl were psyched by a few summer viewers who caught her on the CBS Continental Showcase of European reruns (where she did, among other things, a dazzling rendition, in French, of the American country and western song "Movin' On").
      Bobby Darin, decked out in soup and fish, hosted, but in song only. There was, appropriately, not a spoken word in this musical hour. Peter Gennaro supplied the dance turns and they were almost nostalgic, reflecting as they did the cultural lag that is video variety today against the hipness surrounding them. Bill Davis' direction was fluid in a workable and interesting set, and the many colorful costume changes by the performers topped off a well-dressed production.
      One complaint could be that, considering the endless promotional trivia that pours out of the webs these days, the network didn't put out a promo LP on this one. It would have been a waxing of lasting value.



Taped at EXPO '67. Guests: Petula, The Seekers, Alan King, Birgit Nilsson and the Montreal Symphony, Ronald Turini (pianist, appearing with the Montreal Symphony), Claude Leveillee, Peter Gennaro (choreographer) appears with female dancers at various pavilions, Les Feux Follets (square dance & clog dancers), I Know a Place ~ Je me Sens Bien ~ My Love/Downtown ~ Don't Sleep in the Subway ~ This is My Song/C'est ma Chanson

USA Pavilllion

Wife to Mayor Jean Drapeau, Jean Drapeau, Petula, Ed Sullivan
May 2, 1967 - following the Ed Sullivan Show recording at Expo '67

Ed Sullivan Show

      Last Sunday's (21) "Ed Sullivan Show" once more revealed CBS' track record entrepreneur at the top of his form, or near, as a shoman-publicist who sometimes out-travels the traveloggers. The outside excursion this trip brought Montreal's Expo 67 into focus; but except for ataped number as the backdrop and the headman's own quickie rubbernecking of the Expo layout. It was a stage spread and a representative one that trained it's foremost guns on the Canadian aspect.
      The main message was in the variety groove, although one or two novelty acts, a Sullivan standard, may have been lost along the way for lack of time. After all, an hour is only 60 minutes, and this one played fast. Alan King was the sole native U.s. star in the spread.
      The "locationer" was at the 2,000-seat "Expo Theatre" with the Seekers, Australian group, kicking off brightly with their "Georgy Girl" disklick. Filling the stage was the Montreal Symphony conducted by Wilfrid Pelletier and backing in succession, Met soprano Birgit Nilsson in a number from Puccini's Turandot" and Canadian pianist Ronald Turini in Rachmaninoff concerto for a splendid 1-2 longhair punch.

     Among acts of Canadian or French-admixed origin were Claude Leveillee, chanting his own "Le Rendezvous" in a fine semi-declmatory and charmingly raspy voice and Les Feux Follets, an outsized troupe that spread over the stage in an interesting clog-type dance to a catchy beat. They closed out the show handily.
      Standout spots were given to King about midway and to Petula Clark, the English nightingale, the latter drawing the next-to-closing slot--and the longest one--in a far ago her trademarked tunes, a couple in French, and a newie plattter, which has the hit look, "Don't Sleep in the Subway." King had the crowd with him in his setpiece pegged on--what else?--arital life. There is a kind of easygoing perfectionism about this comedian that gives a life to any show.
      Sullivan's direct participation was as narrator of a quick look round at various government pavillions via the Expo's minirail. An extension of that was provided later as Peter Gennaro and eight girls, dressed as Expo guides, terpsytuvied at several sites to Gennaro's choreography, for a winning stanza that actually had the stage as a live point of departure for the taped segue. All in all, a happy two-way streatch--good EXPOsure and good home entertainment.



Guests: Petula,Young Rascals, Eddie Fisher, Buddy Hackett.
Who Am I, Don't Sleep In The Subway, The Cat In The Window, Eternally

September 10, 1967


With Red Skelton, Petula Clark, Buddy Hackett, Eddie Fisher, The Young Rascals, Carazini, Ray Bloch Orch
60 Mins., Sun., 8 p.m.
CBS-TV (color)
     Television's longrunning champ, Ed Sullivan, marking the begining of his 20th tele year, name-loaded his official return for the new season with a galaxy comprising Red Skeleton, Petula Clark, Buddy Hackett, Eddie Fisher, Young Rascals and Carazini, and once again it pointed up the why-for of the conferencier-cum-columnist's consistent audience acceptance. In short, he knows how and what to book and what's more, knows when to get out of the way of the actors.
     Sullivan's recent Ladies Home Journal confessional virtually states the same thing. What he understated is a seasoned awareness of audience values. He spans more than a third-of-a-century of show biz appraisal and participation. He has a sentimental regard for the tradition of Al Jolson and if, mayhaps, some didn't quite appreciate what Sillivan meant that Jolie "thought Red Skelton was the greatest mimic," the comedian proved it anew with his opener. True, the screaming-meemy adolescents out front in the live audience reacted more vociferously to The Young Rascals, but it is this concurrent spot-booking of the topical favorites, along with the solid staples, that make for the Sullivan alchemy.
      Petula Clark with her rhythmically modern yet melodic songs (including

an effective battery of strings for a reprise of Charles Chaplin's theme from "Limelight" titled "Eternally," a sort of paraphrased lyrically of Irving Berlin's "Always") segued to Buddy Hackett's reprise of his old "Chinese waiter" routine. Eddie Fisher's songs, the r&r tempos of the Rascals and clever magico Carazini. Hackett, funny of mien and manner, but still a meanie when it comes to the critics, pointed up that two years ago when he starred in "I Had a Ball" all seven critics gave him the shaft but somehow today, "only three papers are left." For some inane rason there was a smattering of audience applause. What this proves, in the case of Hackett vis-a-vis the press, is equally conjectural. Paradoxically, both he and Fisher got tepid applause but their stuff was thoroughly professional, per usual. Amidst the sentimentality of the 20th anni, Sullivan gave lavish tribute to Walter Winchesll, out front with Shermane Billingsley (she's doing a tome of her famed father, the later founder-owner of the renowed Stork club, for which WW will do the foreward.) Sullivan hailed Winchell as the daddy of Broadway columnists and the audience salvoed him enthusiastically. Previously, he read congratulatory wires from Frank Sinatra and Dean Martin, and also mentioned Jack Entratter, among others; and Jerry Vale (avec wife) was likewise trailerized on his upcoming Copacabana bow this Thursday (14). Withal, Sunday-at-8 for Sullivan looks as trademarked a time slot at Winchell-at-9 used to be in the radio era of "Mr. and Mrs. America and all the ships at sea."



Guests: Petula, Flip Wilson, Roy Rogers & Dale Evans.
Call Me, Lover Man, Love song medley (with Martin)

Medley available on DVD



Petula hosts. Guests: Lynn Redgrave, Noel Harrison, George Sanders.
The British Are Here (with cast), Sgt. Pepper's Lonely Heart Club Band (with Lynn, Noel, George), England Swings, This Is My Song, Don't Sleep In The Subway, Imagine, Where Did We Go Wrong

Don't Sleep in the Subway

with Lynn Redgrave

with George Sanders & Noel Harrison<


Plymouth car commercials


National television commercials featuring Petula singing special lyrics to The Beat Goes On.

STOP video first, then

THE TONIGHT SHOW starring Johnny Carson


Guest host: Harry BelafonteGuests: Sidney Poitier, PETULA
Kiss Me Goodbye



Petula's first American TV special.
Guest: Harry Belafonte.

Petula Clark stars with Harry Belafonte in a Legendary TV Music Special

Don't Sleep in the Subway
Who Am I?
Color My World
The Other Man's Grass is Always Greener
The In Crowd
We Can Work it Out
The Life and Soul of the Party
How are Things in Glocca Morra?
Just Say Goodbye
Have Another Dream on Me
Come Rain of Come Shine
Las Vegas
Live for Life
Elusive Butterfly
If a Better Time's Comin'
Both Sides Now
On the Path of Glory

The infamous "touch."

Milwaukee Journal
April 3, 1968

TV Puts Final Touch on Charm of Petula
by Wade H. Mosby
A steady pleasant hour of song was presented on NBC-TV Tuesday night by Petula Clark, the gifted British import who adds visual impact to her unquestioned vocal credentials. The program was labeled simply Petula and grace with which she negotiates her notes make even rock n- roll numbers come to life ("Downtown"), but she was, usually at home with a broad range of ballads, including "How Are Things in
Glocca Morra?"
     Harry Belafonte wrapped his whispery baritone around several numbers, winding up duetting with his hostess - an episode highlighted by the celebrated touching incident in which Miss Clark put her hand on Mr. Belafonte's and an employee of the sponsor wanted the scene deleted, but it stayed in. The friendly gesture would have gone unnoticed by most viewers had it not caused an advance incident.
      Oddly, the superb production effort tended to distract the viewer from the star. Miss Clark appeared in a variety of gowns, from mini to maxi. The colorful settings changed and swirled in a most admirable manner, and even made use of the retired liner Queen Mary.
      Miss Clark was photographed from nearly every angle, including several shots apparently taken through Kleenex. But she stayed resolutely at the helm, a poised, attractive and talented entertainer.

Seattle Times
April 3, 1968

Pet Clark: A Charmer
by C. J. Skreen
There is not much question about it - England's Petula Clark solidified her position last night as just about everyone's favorite Pet. The vibrant, fragilely beautiful songstress starred in her first American TV special on NBC, and ells they might say in her native land, it was "simply smashing. "
      The theme of her visually exciting hour was "Who Am l?" and she proceeded to provide lyrical answers as she wafted in and around the stage appearing
variously as a member of the jet-set, a gambling lady in Eas Vegas and a member of the "flower generation." It wasn't until the finale that she answered the question: "I guess I am that girl from England."
      Apart from a nostalgic singing and sightseeing tour of the luxury liner Queen Mary (now being converted into a resort hotel at Long Beach, California), virtually the entire program was performed before a studio audience at Burbank.
      Miss Clark, whose singing style seems to appeal to everyone from teenyboppers to grandparents, didn't short-change her fans. It was a solid 60 minutes of many of her hits.
      An added plus was a fantastic wardrobe displayed by the carrot-topped lass with the delicate air. It changed with every number, ranging from the mini-est of miniskirts to formal gowns.
      Her fresh and vivacious personality came through on all her numbers, including such trademarks as "Downtown," "Don't Sleep in the Subway" and "The Other Man's Grass Is Always Greener." Particularly moving was her duet with Harrv, Belafonte on an antiwar song, "On the Path of Glory."
      To this viewer's taste, Miss Clark is much more effective on pensive ballads than those tunes with an overriding beat that most performers favor today, but even on these numbers she succeeds in making them as palatable as possible.
      Steve Binder was the producer-director of this stylish offering. He provided his star with an almost perfect showcase - one that avoided the customary hackneyed introductions and the aimless banter between host and guests.
      Probably the best compliment to be paid to Miss Clark is that she even succeeded in making the commercials sound good.

New York Daily News
April 3, 1968

That Girl from England Stars in Stylish Special
by Kay Gardella
A stylish, sophisticated musical hour with a nice contemporary flavor, excellent sets and a star who can sing like a dream. That just about sums up Petula Clark's first American TV' special on NBC last night. Except, perhaps, for the fact that the hour received some unpleasant advance publicity. It was reported that during the taping of the show a sponsor representative objected to Miss Clark and her guest star, Harry Belafonte, touching, during a duet of "On the Path of Glory." Ironically, this was the highlight of the hour and Belafonte never showed off to such advantage. How unfortunate that anything should have marred this otherwise flawless program.
      The attractive British songstress, who looked like she stepped off of an old-fashioned candy box, moved fluidly from one set to another, weaving her musical narrative like a spider does a web. Through such songs as "Color My World," "The In Crowd" and "Have Another Dream On Me" she carried the show's theme, "Who Am l?", to its logical conclusion - "that girl from England who sings 'Downtown'."
      But before she faced up to her identification, the stunningly dressed star answered her searching question, posed in the song "Who Arn l?", with a number of attractive portrayals. She was, in turn, a gambling lady in Las Vegas, a member of the jet-set and even a member of our flower generation. In every sequence her gowns were breathtaking.
      With so many recording aids today and all the lip~synching that goes on on TV, a vocalist need not have much of a voice to make it to the top. So when a real singer comes along, who knows phrasing and can belt out a song at a mike, sans accroutrements, it's an added pleasure. Petula has a way with a lyric that's unique, her arrangements are fresh and, like so many of our great vocalists, she can grab hold of a mike and just sing to her heart's content. Her medley of romantic songs - "Imagine," "Come Rain or Come Shine" and "Just Say Goodbye" - combined the wistful softness of yesteryear with the bittersweet touch of today.
      And her closing sequence, when she took mike in hand to sing directly to the audience, had the touch of such greats as Judy Garland and Ella Fitzgerald. A tour of the retired luxury liner, the Queen Mary was the only segment we had any reservations about. While it helped identify the young lady ~ "that girl from England who sings 'Downtown'," she didn't need it.

April 3, 1968

Pet Clark Show an Anachronistic Triumph
by Barbara Delatiner
     Petula - or "Pet," as she likes to be called -Clark is the nicest thing to happen to television and viewers in ages for several reasons, all very much in evidence last night during her smart, stylish and utterly sophisticated NBC special, Petula.
     The quietly beautiful blonde import from England can sing, both in fancy production numbers and alone on a stage surrounded by an audience. Such impeccable phrasing! Such fluidity of wellwrought notes! Gosh, Miss Clark is an anachronism. For all her youth she harks back to the days when singers had to sing.
     With these attributes yesterday she was in effect an ambassador between generations. For in a stunning medley of "now" songs that uninterrupted and unannounced speedily ran the gamut of "now" people from the jet-set to the flower kids, Miss Clark accomplished the impossible. Searching for "Who Am l?", she allowed us to appreciate the poetry in the usually unintelligible Beatles lyrics. This sequence alone, a kind of musical essay staged with imagination and vigor by co-producer (with Yvonne Littlewood) Steve Binder was worth the price of admission. It was an exciting visual and audio gem.
      Clad in absolutely gorgeous semi-mod attire fashion exhibitionists who haunt television should take note of her simple elegance - Miss Clark dominated the well-paced hour; whether crooning of love in a segment where the camera concentrated on her vibrant face rather than on props; reprising her hits in a plain studio setting; employing some gimmicks like a kiddy orchestra or a tour of the deserted ocean liner, the Queen Mary; or joining Harry Belafonte, her lone, magnificent guest star, in that now-celebrated rendition of "On the Path of Glory." Celebrated? Yes, because when at the conclusion of this stirring song Miss Clark touched Belafonte's arm the sponsor's representative attempted to kill the number. He was unsuccessful, thankfully. The number was one of the most moving musical interludes on TV ever.
      Balance of payments and international considerations aside, Miss Clark, provided her creative mentors are as inspired as Binder, choreographer Claude Thompson, musical arrangers William Goldenberg, Earl Brown and Tony Hatch, and art director Gene McAvoy, will be welcome back on these shores. Her first outing here was a prizewinner.

Hollywood Reporter
April 4, 1968

by Bob Hull
     In a program reminiscent of the Nancy Sinatra special, British-born singer Petula Clark was showcased in an hour-long telecast on NBC-TV Tuesday. As in Miss Sinatra's program, the "Downtown" thrush was spotlighted with her musical locations ranging from Malibu Beach to the venerable Queen Mary, now languishing in Long Beach Harbor. Peripatetic Petula was easy to follow and to hear as producers Steve Binder and Yvonne Littlewood (Binder also directed) backed her with the finest in camera work and a brilliant sound system.
      "Who Am l?" served as Miss Clark's theme and opened the way to the introduction of nearly two dozen songs in answer, including "Have Another Dream On Me" and "Don't Sleep in the Subway." The real Petula Clark, it developed through her various tune clues, is a chic member of the jet-set, a "flower child," a romanticist and one darn good singer.
      With her guest Harry Belafonte, Petula sang about the horrors of war in the song "On the Path of Glory." At the end of it, Miss Clark touched Belafonte's arm, the incident which, during the taping, resulted in a agency rep who must have been thinking of the white-sheet crowd in the South. Harry also did "Hambone" with O.C. Smith Jr., son of the pop singer, in his video debut. Also on the show were the youngsters of the El Rodeo Grammar School Band, backing Miss Clark in "Color My World," and to good effect.
      Of the 23 numbers on the quickly-moving show, Pet's "The Other Man's Grass Is Always Greener" particularly was good. The star was featured in frequent close-ups which, other than highlighting her Garbo-like looks, defied the viewers' attempts to tell if she were singing live or mouthing to a recording. Bill Cole's audio crew came up with the best sound for a musical show this season, sharp and clear, while the arranging and conducting of William Goldenberg provided the basic aural material to good advantage. Earl Brown, Tony Hatch and Bill Eaton added the special musical material, and Claude Thompson contributed smooth choreography. Miss Clark should be invited to grace the American "telly" more often.



Guests: the Beach Boys, Richard Pryor,
Petula and Peter O'Toole are interviewed on the set of Goodbye Mr. Chips set. Don't Give Up plus song montage.




Petula's second American TV Special.
Guests: Andy Williams, Sacha Distel, Ron Moody.

with Ron Moody

April 8, 1969

Portrait of Petula
by Bob Hull

in London - Prince Albert Memorial, across from the Royal Albert Hall
     Production values comparable to well-made commercials lifted this musical special into the extraordinary category. The "portrait" of the title evolved as a super-smooth film-tape montage similar to the sylvan beauties of a Newport or a Salem pitch located in the green-green countryside. Petula Clark is pretty without the gilding, but the addition of carefully executed background certainly did not detract. For her second special with NBC, Miss Clark chose to hang the theme on England, France and the United States, countries where she was born, married and now spends most of her working time, respectively. She picked three guest stars, one from each country, including Ron Moody, Sacha Distal and Andy Williams. The selections were happy ones as each man performed counterpoint to the songstress according to his image.
      Petula and Andy came up with a musical reply to the Beatles in a set of country-western tunes, including one featuring Pet on the washboard and Williams playing guitar-harmonica. Overhead shots of the pair lying head-to-head at a picnic site were effective. With Distel, the star swung to Paris for typically French songs and some incidental glances at street fashions. After soloing to "All the World Adores a Villain," Oliver! star Moody joined Miss Clark in a look about London town's Kings Road, and bounded through the old English music hall tune "Knees Up, Mother Brown."
      Thankfully, Petula and her guests did not belabor comedy during the hour, wisely presuming the audience tuned in to hear the music. That the scenery also was watchable became a plus, due largely to the handling by vet special show manager Alan Handley, who co-produced with Bob Wynn and directed. Exec producer, Claude Wolff surrounded himself with a good team of musicians, including director Harper MacKay and arranger Michael Colombier, E. Jay Krause, art director, and tech boss Carl Messerschmidt could take bows, too. Good show.

April 9, 1969

Portrait of Petula

Two things were special about this Pet Clark hour. The powerful pipes and personality of the star, as always a genuine vaudeville treat, and the fact that a viewer could tell the blurbs from the programming.
      Miss Clark is that kind of pro who can surmount a cliched format and soggy writing. How about a picnic basket to get into a country-and-western duet with Andy Williams, or a Paris fashion parade featuring the star that's not as well done as the fashion bit featuring Diana Ross a few months ago, or all that home movie footage in London, Paris, New York, etc.?
      Same time, for certain purists, it is a pleasure to not see the artist pushing the sponsor's product - a job for Wile E. Coyote and Road Runner. Guest-shots were standard from Andy Williams and the syrupy Sacha Distel. Ron Moody's vigorous Fagin number hypoed the proceedings.

Seattle Times
April 8, 1969

Cute Canary Scores Again
by C.J. Skreen
     Petula Clark is a winsome British lass who projects the feeling that she really enjoys entertaining. The communication of this joyousness came through last night in her second special for American television on NBC.
      The effervescent songstress who apparently has bridged the generation gap in audience appeal, pbserved at the outset that the program would have elements of three countries that have loomed large in her career: England, France and America, "my third home."
      Thus, the show has a certain international flavor as Pet wandered about the streets of London, Paris and New York and at her home in Switzerland where she was seen on the slopes with her two young daughters. Most of the special, however, was taped on the soundstages at Burbank. Miss Clark, stunningly gowned, was backstoppcd in this Portrait of Petals by Andy Williams; Sacha Distel, the French guitarist-singer; and Ron Moody, who appearedd in his Oliver guise as Fagin to do a rousing "All the World Adores a Villain."
      The most novel segment involved Williams and the hostess doing a country-western parody in a picnic setting, complete witl1 harmonica, guitar and washboard. It was a virtual Roger Miller Festival.
      Miss Clark traveled over pretty familiar ground in her song selections. They ranged from a pensive "My Funny Valentine" to her early hit, "I Know a Place." They were all delivered in taste and style in an easygoing show that, while not exactly inspired, was a rainless. enjoyable way to spend an hour



Guests: PETULA, Blood Sweat & Tears, Don Ho.
Games People Play, Happiness Medley with Andy, Goodbye Mr. Chips medley.

With Andy Williams, Petula Clark Don Ho, Blood Sweat & Tears
60 Mins., Sat. 7:30 p.m.
NBC-TV, from H'wood
      The season opener had the mix of personal charm and production savvy that has earmarked Williams' efforts to date. Blood, Sweat & Tears, an oddly eclectic rock group, delivered an effective rock spiritual and doubled with William in "You Made Me So Very Happy". Miss Clark lent her throaty style nicely to "Games People Play" and joined Williams in a handsome production number of "London is London." Don Ho soloed on "Love's Been Good" and paired with Williams in "Ob La Di Ob La Da."
      Williams' busy vocalistic participating would seem to take note of a one-shot this summer in which he rather unsuccessfully took the traditional emcee role of a good deal of chatter and letting the acts do their own thing.



Host: Herb Alpert.
Walk Through The World, Singin' In The Rain (with Alpert)



Guests: Petula, the Band, Pearl Bailey, Buck Owens.
Fill The World WIth Love, No One Better Than You, The Fool On The Hill



A review of the decade in entertainment. Petula reviews Britain's role in the decade's music and sings Downtown, England Swings & Who Am I.

Sullivan's 'Swinging, Soulful '60s' Does Hop, Skip, Jump on Decade

     "The Swinging, Soulful Sixties," Ed Sullivan's tribute to the past decade this past Sunday (21), should have had an "as told to Ed Sullivan" byline attached to it.
      On paper, Sullivan's lineup of names should easily have drawn his best ratings of the season. In fact, only Peter Gennaro, Robert Goulet, Petula Clark, David Frost, Diana Ross & the Supremes, and John Byner were presented in live or contemporary tapes--everybody else was reprised from past Sullivan performances.
      Not that the above "live" roster isn't an impressive one. But the show had been heralded as an all-star bash to end all--and in that context was a disappointment. The decade now ending was a wildly creative one, with show business particularly in a state of innovative revolution in form and content--but Sulllivan hardly touched the heart of that matter. What the viewer got instead was a fragmented look at some of the headliners who surfaced during the '60s. with their past Sullivan appearances as the assumed high point of the ascent. End result was the feeling that Sullivan was paying tribute to his own role in the decade, rather than to time period covered.
      What aired was a Peter Gennaro telescoped review of the dances of the '60s from the twist to the popcorn, followed by Goulet's medley of some great showtunes, including "The Impossible Drean." Peter Clark limned the British invasion, mostly her own, before David Frost inserted a pungent commentary on changing mores, good for some needed laughs.
      Diana Ross palavered a bit with the host, then segued into a truncated medley of her hits, accompanied by the Supremes, in what Sullivan proudly called her last appearance with the girls.
      Appearances of Barbra Streisand and The Beatles were strictly past Sullivan shots, effective enough in their own right, but still obviously dated. With time
running out, comic John Byner surfaced for the sharpest showmanship of the hour, heckling Sullivan and assorted film clips in fast and rib-tickling fashion. A dramatic rendition of "Smile" by the late Judy Garland provided a poignant finale. Sullivan has always had the top headliners on his stage. That fact, as well as any, explains why he has endured for 22 seasons in primetime. But he has seldom added any outstanding tv craftsmanship to their appearance. The show remains a taped vaudeville bill while other variety formats have taken on more of a viable tv style. ("Hollywood Palace", excluded). Sunday's show forcefully reminded one that the Sullivan format never changes, with vintage footage meshing reasonably well with current stuff. The unchanging formula may provide the clue as to why Sullivan is lagging behind in the numbers this season. Quick tape flashes of big names dotted this decade review, with the likes of Herb Alpert, Phyllis Diller, Richard Burton, Flip Wilson, Gwen Verdon, The Rolling Stones, Tony Bennett, Jack Benny, Anthony Newley and Sophie Tucker, among others, zooming briefly across the screen. New shows previously announced, included Louis Armstrong, Dionne Warwick, The 5th Dimension and Mom's Mabley. (No explanations offered, but one can assume they ended up on the cutting room floor.) It's impossible, of course, to capture 10 years in an hour. The trouble with Sullivan's collage was that it confused name-dropping with pure entertainment, leaving only a skeletonized montage of faces and snatches of songs as a hurry-up remembrance of things past. The only memorable segments, based on their own content, were the Garland song, the Beatles doing "Yesterday" (plus the excitement of their American invasion) and the Frost and Byner humor. For an hour, that's enough; for a full decade, it was mighty skimpy.



Army Archerd hosts.
Gala West Coast Premiere of Goodbye Mr. Chips at the Wilshire Theatre, with Petula in attendance. Film clips, star arrivals, etc