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Petula Clark Keeps on 'Living for Today' with New Album and U.S. Tour

The "Downtown" vocal legend is embarking on a new U.S. tour—her first!—in support of a new album named for her personal mantra: Living for Today

Petula Clark makes it her mission to live for today, but she’d prefer to make an exception on the afternoon we speak. The iconic singer—best known for her string of million-sellers in the 1960s—turned 85 this day, and an attempt to begin our phone call with a happy birthday greeting is met with a faux groan. “No, no no—don’t go there. I haven’t done those for a long, long time,” she says with a good-natured laugh.

Age is certainly irrelevant, but that goes double for Clark, who is currently in the midst of her very first solo tour of the United States , which ends on Dec. 26 at B.B. King’s in New York City’s Time Square. The finale is a fitting one—songwriter and frequent collaborator Tony Hatch dreamed up the melody for her signature song, 1965’s evergreen cosmopolitan anthem “Downtown,” while strolling just a few blocks up the road.

Clark teamed up with Hatch for her new album, which takes its name from her personal mantra: Living for Today . The title track is a fresh and surprisingly funky ode to being in the now, but the legend was gracious enough to open up about her remarkable past in music, performing, film, and civil rights.

The name of your new album is Living for Today —how did you settle on that for the title?

I had co-written this song with my musical director, “Living for Today,” and I liked it. I think I’ve been living for the day for a long, long time! This is really all we have, the moment right now. When I’m talking to you, I’m not doing anything else—I’m concentrating on talking to you. When I put the phone down I’ll be concentrating on something else. It’s a whole way of living that I’ve been doing for many years.

The song has such an optimistic message.

Yes, I think it’s optimistic song. There’s that line about, “Tomorrow never comes anyway.” Tomorrow turns into today! I wrote it as an optimistic song. And another song I wrote, “The Rainbow,” is also optimistic. [But] I’m perfectly aware of what’s going on in the world. The background of our lives is not very nice, so we have to keep on trucking. That’s what I do. I’m on tour at the moment and we’ll get on the bus tomorrow and on we go. I make the most of every moment of my life.

How does it feel to go on tour in the States? Isn’t this your first in quite a number of years?

Actually, I’d never done a tour in the US of my own shows. I did [theatrical productions] Sunset Boulevard and Blood Brothers , but I never have done a tour of my own shows. This is the first one. I used to do concerts here and there, like Chicago and San Francisco, but never an actual tour. This is it!

What’s the most exciting thing about it for you?

The most exciting thing is appearing in front of a live audience. That’s really what this is about. Everything else is just electronic this and that, you know. When you get on the stage, that’s it. That’s the moment of truth, and I like that. When I go on, I’m never quite sure what my set is going to be, I’m never quite sure what I’m going to say, and I’m never quite sure what the audience is going to be like. There’s an element of risk to it, which I really like.

Your new album has several covers, including the Beatles’ “Blackbird” and Peggy Lee’s “Fever.” What do you look for when you’re covering a song? What speaks to you and makes you decide you need to sing it?

Most of this album is produced by a man, would you believe, with the name of John Williams. He’s not your John Williams! He’s an English John Williams and he suggested “Blackbird.” I’m asked to do Beatles songs all the time and I do sing them—I love them. I always hesitated doing this one because it’s a rather fragile little song. So we played Paul’s version [first], which is absolutely gorgeous. Then I did [it], and it’s absolutely lovely, I absolutely adored singing it. It’s quite a complex little song, actually.

And with “Fever,” I had grown up listening to Peggy Lee. She was my idol and I knew every breath she took on Black Coffee —you know her wonderful album? I knew every breath, everything. One day many, many years later I actually met her, which I saw as a moment of truth. And she was great and she seemed delightful and everything. We sang together, she guested on my show, and we became friends. I said to John, “I can’t sing ‘Fever,’ that’s her song.” And he said, “Yes you can!” He knows me well (we made two other CDs together) and understands my self doubt and reservations when it comes to covers. He’s a kind man, and a fine producer.

I had to go somewhere for a couple of hours and I came back and they had done the [backing] track. I went to my microphone and before I’d started singing I had a little word with Peggy. I said, “OK, girl, I hope you don’t mind me doing this, but you have to know that every time I’m singing this I’m going to see you and you’re going to be as beautiful and sassy as ever.” So that’s the truth.

You have an extensive career as an actress in addition to your singing. Do you feel as though the best singers have a touch of the actress in them to put across the emotion of the song? What is the overlap between acting and singing?

I think the two are very close, I really do. I think a great actor has a kind of music inside him. It’s very personal. In my own point of view—I don’t know what other singers go through—certainly I have images going through my head when I sing, I don’t just get up there and belt it out. Every song is personal to me for some reason or another. Even the very old ones, there’s a kind of image going through my head. I think that’s important, what’s going on inside you is what’s coming out.

You began singing in public at a very young age, in front of people like Winston Churchill. Was that nerve-wracking for you?

Oh, not at all! [laughs] That’s the thing about childhood. I wasn’t the slightest bit nervous! I think you’re talking about the concert we did at the Albert Hall. I was backstage reading a comic and somebody tapped me on the shoulder and said, “Petula, you’re on.” So I dog-eared the page and went out onto the Albert Hall, my dear, which is quite fearsome. I sang three or four songs, tore the place down, and came back to my comic. It was really as if nothing had happened. It’s not like that anymore! Children are different. I just loved singing. I enjoyed it, but I didn’t see anything particularly important about it.

You’ll be playing in New York City next month, not far from where Tony Hatch was standing when he first dreamed up the melody for “Downtown.”

I know! Isn’t that funny? I’m playing B.B. King’s , would you believe. This is quite fun, it’s like a rock and roll tour.

Do you still remember the first time you heard “Downtown”?

Of course I do. I was living in Paris. I’m married to a Frenchman, so I moved there to be with him. Quite out of the blue, I was not expecting to fall in love with a Frenchman and move to Paris, but there I was. My life is full of stuff like that. But I was doing all my recording in London—I had huge hits in France, Germany and Italy. Tony Hatch was a junior producer at Pye Records and I got to know him and like him. He came over to Paris to talk about the next French session. It was about four o’clock, time for tea. He said to me, “You should be recording again in English soon.” I had this ridiculous career going on and I had two small children, too. I said, “If I could find the next song, yes.” And he said, “Well, I started writing the song. Would you like to hear it?” And I said, “Of course I would.” “OK, it’s called ‘Downtown.’” So I went into the kitchen to make tea when I heard “Downtown” for the first time. [laughs] I came back into the room and said, “That’s one wonderful tune. If you can write a lyric to the standard of the tune I’ll do it.” And two weeks later we did. We recorded it in London. I think we did three takes—live, of course, huge orchestra—and I think we used the second one. And that was it. We knew we made a really good record, but we had no idea we’d made a monster record. I don’t think anyone ever really knows. But Tony was just writing brilliantly. His sound and my sound, the whole thing blended together.

One of my favorite hits of yours is “This Is My Song,” which I understand was written by Charlie Chaplin for his movie, [1967’s A Countess from Hong Kong ]. What was it like to cross paths with him?

The publisher sent me the song, and it was very complex getting to hear it because they sent me this huge tape. I had to go to a radio station in Reno, would you believe, to listen to it! I didn’t think too much of it at first. The arrangement had been done in Paris and I didn’t much like it. Warner Brothers sent an arranger over and we recorded it in LA and it became a huge, huge hit. It was then that Charlie [got in touch]. He was thrilled at the success of it, because the movie was not a huge success. He lived not very far from us in Geneva and he invited me over for tea. So I go along and I ring the doorbell and there’s Charlie Chaplin standing at the door with a big smile on his face. We spent the most amazing day together, very joyful, dancing around his living room, playing piano. He had so many wonderful stories. He was totally overjoyed with the success of the song.

In addition to your musical legacy, you made television history when you appeared with Harry Belafonte on your 1968 NBC special [which featured the first image of physical contact between a black man and a white woman broadcast on an American network]. What are your memories of the feud with the sponsors who wanted the scene cut, and how did you ensure it was included?

NBC had asked me who I wanted as my guest, and I said Harry Belafonte. I was so thrilled when he accepted. We worked together for about three weeks rehearsing the show. We’d become friends, we were quite close. He felt quite strongly about a lot of things. When we came to tape it, that’s when all the trouble started. It didn’t feel like an amazing stand to me. I’m English, and I came here without any of that kind of baggage. And then I landed right in the middle of the Civil Rights movement and I just wasn’t going to take it. I wasn’t going to stand for that. So I stomped my little foot and there it was.

I have one more question, which is both an easy one and a hard one. Is there any one song in particular that gives you the most joy to sing?

That is a hard one and I’m not trying to back out of it, but the truth is it’s always the new one. The new song is like a new lover. You’re still finding out about it. It’s all fresh, so the new songs are the ones I enjoy singing the most because I’m still finding out about them. It doesn’t mean I don’t like the old songs—I love “Don’t Sleep in the Subway” and “I Couldn’t Live Without Your Love.” They’re magnificent songs, but right now it’s the new ones!

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Petula Clark Looks Back on ‘One of the Pinnacles’ of Her Career

A decade after the U.S. debut of "Downtown," Clark was on stage at London's venerated Royal Albert Hall for a Valentine's Day concert.

By Fred Bronson

Fred Bronson

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In 1964, Petula Clark was an international star, famous in Europe but unknown in the U.S. Signed to the Vogue label in France and Pye in the U.K., she recorded a song written by Tony Hatch, and Warner Bros. picked it up for America. “Downtown” debuted on the Billboard Hot 100 in December 1964 and spent two weeks at No. 1 in January 1965. She followed it with another No. 1, “My Love,” and four additional top 10 songs. She had a total of 22 chart entries between 1964 and 1982.

Petula Clark

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A decade after the U.S. debut of “Downtown,” Clark was on stage at London’s venerated Royal Albert Hall for a Valentine’s Day concert, a memorable evening of song that has not been heard in full again since that day in 1974. That changes this month with the release of a lovingly-compiled set through the auspices of the Switzerland-based United Music Foundation, an organization with a mission to preserve, enhance and spotlight endangered musical recording heritage, and, when financially possible, to make those recordings available to the public. Profits from sales will be used to continue the preservation and restoration of other historically important recordings.

A Valentine’s Day Concert at the Royal Albert Hall is the foundation’s third release, following deluxe packages by American jazz soloist Sidney Bechet and French chanteuse Nicole Croisille. “Just like the foundation’s first two Collector’s Editions, I conceived Petula Clark’s A Valentine’s Day Concert at the Royal Albert Hall from start to finish,” the foundation’s project manager, David Hadzis, tells Billboard. “This has always been my favorite Petula concert recording, and when her son Patrick told me he felt the same, the idea of a project stayed in the back of my mind until I was able to find an opportunity to release it.”

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Hadzis first located the tapes from the 1974 concert in the mid ’90s in the PolyGram U.K. vaults. “Around 1996, [Clark’s husband] Claude Wolff asked me to assist him as he had a licensing request from PolyGram U.S. to re-release all five of Petula’s original Polydor albums. Live in London , the abridged album version of this [Royal Albert Hall] concert recording, was one of them. A few years later, I learned that all of Petula’s Polydor tapes had been transferred to the PolyGram U.S. vaults. I was only able to retrieve them about 10 years ago at Claude Wolff’s request. In 2016, I preserved these tapes for the United Music Foundation, along with those of her two other Royal Albert Hall concerts, on the occasion of UNESCO’s annual celebration of the World Day for Audiovisual Heritage.

“Despite all the research I had done, there was no trace of the original multi-track masters of this 1974 concert, so I assume they have been destroyed, which was common at the time, especially when recording studios closed down. The only tapes I eventually found and retrieved were the 15ips album production masters containing only 14 tracks (and badly encoded Dolby A), and a set of 7.5ips rough mix tapes containing all 33 tracks along with unedited speech and applause. Although both tape sets had been mixed by John Timperley at Chappell Studios in London, they did not sound the same. They had speed and phase discrepancies, which took me quite some time to restore. There were even worse issues such as dropouts, hiss, clicks, plops, distortion, crackles, unstable phase and all sorts of ambient noises which I did my best to get rid of. A very heavy restoration and editing process took place, involving quite a lot of miracle-making thanks to modern technology.”

Once Clark and Wolff signed off on a physical release of the concert, Hadzis worked closely with the artist on all of the packaging details. “Petula shared her creative ideas with me. Thanks to her, we used Michel Colombier’s handwritten score of ‘My Funny Valentine,’ which she had performed that night, as the yellow background of a few pages, as well as images of her pearls and her pocket mirror. She also allowed us to use her signature – so recognizable that it’s almost like a logo. We reproduced it in hot-stamped gold on the album cover. Petula really wanted to make this artwork as personal as possible.”

Billboard contacted the legendary singer at her home in Geneva to ask her about the 2020 release of her 1974 concert.

What were your initial thoughts when you first heard about this project? Of all the countless live performances you have done, what place does this particular concert hold in your heart?

I had already done concerts in this iconic venue, and each time was memorable for me. But the 1974 show seemed to have a closer tie to me personally in the choice of songs – and the way of doing them. I was lucky to have some of my favorite people by my side – Yvonne Littlewood, the talented TV director from the BBC, and Frank Owens, who had been musical director and a brilliant pianist with me for many years. He brought with him a truly great rhythm section from New York, and of course that amazing orchestra was made up of some of our very best British musicians.

You have appeared at the Royal Albert Hall many times, both before and after this concert. What is it like to be a performer on that famous stage?

If you walk out on the stage at the Royal Albert Hall when it’s empty – it is overwhelming. This hall was built in honor of Prince Albert by Queen Victoria. It is huge – round with no pillars, and unbelievably grand. It holds 6,000 people, and I love it! Much has been done over the years to improve the acoustics, but it still has a great soul. I’ve been lucky to have had many highlights in my life, and singing in the Royal Albert Hall, in my hometown, is without a doubt one of the pinnacles.

What do you recall about the preparation for this particular show, including putting together the set list?

It wasn’t easy. Frank was in New York; Peter Knight, the great English arranger, was very busy in London; Michel Colombier was in Paris and I was mostly in Geneva, but flitting around, trying to get us all going and getting it done in time for the 14th of February. We only just made it.

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For years, many people thought the opening number was “I Can See Clearly Now,” because of the song order on the MGM/Polydor release, where they could not include new recordings of songs from your previous label. Why did you open with “Color My World”?

“Color My World” seemed a good choice. It has the right message, people like it and of course Frank “beefed it up” a bit as only he can.

What do you remember about the audience that night?

Oh well! It was a sort of “love-in.” Performing is really, for me, a communion, a kind of two-way traffic between me and the audience. The Royal Albert Hall is renowned for this.

Two of the songs you performed that night, “London Is London” and “You and I” are from Goodbye, Mr. Chips . Your acting career includes that film and Finian’s Rainbow , as well as the stage musicals Blood Brothers and Sunset Boulevard. If you had to rank all of the things you have done – including performing live, recording, touring, appearing on TV variety series and specials—where would you place acting?

Acting is very important. It’s as if every song is like a small play, some more simple than others but there are always images in my head.

I love the uptempo version of Carole King’s “You’ve Got a Friend” and I’m not sure I’ve ever heard it sung that way before. Was there any discussion about performing it this way?

Frank did this arrangement, and we worked on it together. I love the way he drives it along. We just wanted to rock and have fun with it.

When you listen to the CD, with 21st century sound technology applied to a 1974 recording, what are your thoughts?

This recording is quite unique, everything is live. David Hadzis improved the tech quality, but basically, there are no “tricks.” I’ve recorded a lot recently in tiny but well-equipped studios and enjoyed it. But there is no way you can replicate the sound of a real orchestra in a huge venue with an atmosphere as live and dense as this one.

You were already an international star when “Downtown” was released. What was it like to have that initial success in America?

When I recorded “Downtown” with Tony Hatch in London, we knew it was a pretty good record. We could never have imagined the impact it was to have worldwide and particularly in the U.S. It was exciting and totally unexpected.

Since “Downtown” is on this album, I have to ask – any idea of how many times you have sung “Downtown” live? Do you ever change it up? Do you ever tire of singing it? Could you ever do a live performance and not sing it?

I have no idea how many times I’ve sung “Downtown.” I still enjoy singing it, and all the other great Tony Hatch songs. I love Frank’s take on it here. I think there would be a mini-riot if I didn’t sing it.

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Petula Clark Treats Audience to Her Big Hits

Petula Clark at BB King’s Blues Club and Grill, NYC, December 26, 2017 (Photo © Sean Jamar; used with permission)

If you’re of a certain age, and grew up in the U.S. listening to AM radio in the ’60s, you’re well-aware of Petula Clark ‘s six Top 10 singles (and three more that reached the Top 15). If you’re from Britain, you may know that she had an astounding  seven Top 10 hits before 1964’s “Downtown” became a worldwide smash. (Her first chart appearance was in 1954.)

On Dec. 26, 2017, Clark completed a six-week U.S. tour by playing to a SRO crowd at New York City’s B.B. King’s Blues Club and Grill. That the singer turned 85-years-old six weeks earlier is remarkable, given the stamina required of the rigorous schedule and she displayed an air of confidence befitting her seven decades as an entertainer.

Clark took to the stage in black evening attire with her five-piece band and, just two songs in, delivered one of those big hits: 1967’s “Don’t Sleep in the Subway,” one of her many collaborations with the English composer Tony Hatch, who she graciously acknowledged many times throughout the evening.

Clark has a new album, Living For Today , which includes covers of several classic rock favorites many of which she performed tonight including “Blackbird” and “While You See a Chance.” After singing the Peggy Lee signature song “Fever,” also on the album, Clark removed her shawl. When she said: “Don’t get excited. It’s as far as I go,” the crowd roared with delight.

She then introduced, “Look to the Rainbow,” the first of two songs she performed from  Finian’s Rainbow , the 1968 film in which she co-starred with Fred Astaire. (Both actors were nominated for Golden Globe Awards for their performances. If you knew that the film was directed by a young Francis Ford Coppola, raise your hand.) Clark sang the tune in an Irish brogue, true to her original vocal in the film.

Next up was “My Love,” her 1965 smash (and second U.S. #1), also written by Hatch. She now sings it with a country music arrangement.

Watch her perform it one year later in Los Angeles

Later, Clark combined two of her biggest hits for a playful, show stopping medley.

As her performance was coming to a close, Clark treated the appreciative crowd to “Downtown,” her worldwide breakthrough smash, again courtesy of Tony Hatch. (When the song was released in the U.S. in November 1964, it rose up the charts, reaching #1 on January 23, 1965, a remarkably quick ascent.)

Petula Clark, December 26, 2017, B.B. King’s Blues Club and Grill Setlist

Watch Clark perform “Downtown” in 1964

Clark was born on November 15, 1932. Keep up with her concert schedule here .

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8 Comments so far

I am really glad I found this article and the accompanying clips. I saw she was coming to my area and was considering attending the concert. After seeing these clips, I saved myself some big bucks. Her backing band sounds like a really bad bar band and, as I guess could be expected, her voice is totally shot. Not only can she no longer carry a tune, but she even speaks some of the lines of the songs. Her ad-libbing is pretty pitiful, too. I guess memories (of her glory days) are best left as memories.

Well, she is 85 years old!

I hear yaRR

Too bad you were listening with such a critical ear. I saw her in November and really enjoyed the show. I was a big fan when I was a child. It was a pleasure to listen to her stories as she took us back in time. No, her voice is not the same, but the memories she brought back were priceless. Wish I could see her again!

I saw her perform in November, 2018, and she was fabulous! Her band was great. Her graciousness and class are unparalleled! After the show, Ms Clark signed autographs and took photos with her fans. Thank you, Petula Clark, for being a huge voice of the soundtrack of my life!

My favorite female vocalist. Always loved her.

At 85 she was doing good , maybe even great. When people go to see these ” legends ” , you don’t go out to think you’re going to hear the voice you heard 50 years ago ( you have your records for that ) , but you go for a night out to see someone you admire , and share your love for the artist with those sitting around you. Thank you for the story & the update on her 89th birthday !!! One of my all time favorite female singers. Her songs had fantastic musical arrangements, and her voice was joyous , even during sad lyrics. Her songs always make me feel good.

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The first record I ever bought was "Downtown".

It was 1965, I was 10 years old, and I begged my mother for the sixty-six cents to purchase the 45RPM record. That was the beginning of my love affair with Pet.

Fast forward to November 2010. Out of curiosity, I did some surfing on the net, and to my surprise, I discovered that Petula was going to do a concert in Lakeland, Florida on February 1, 2011. I quickly booked a flight and concert tickets for myself and my partner, and off we went to Orlando. Out of sheer luck, I'd managed to get second row seats right in front of the piano on the stage. I was in Petula "heaven" when she appeared on stage at the age of 77, and not looking a day over 50!

Her stage presence was amazing, and her voice hadn't changed in the 46 years since I had first heard "Downtown" on the car radio.

When the concert was over, we stopped to buy a CD and concert book. The man took my money and then asked me "Do you want to meet her?" You could have knocked me over with a feather.

I'm over six feet, and Petula barely reached my shoulder, and I must say she has the figure of a twenty year old. All I could say, or babble, was "I've been in love with you since I was 10 years old." She looked up at me and said "Oh you!" I thought I was going to faint. She was so gracious and allowed to be photographed with me.

All in all, of the fifty or so concerts I've seen in my life Petula's was the best. No fancy gimmicks, just that fabulous voice.

Now, if somehow I could get her to come to Omaha to do a concert, which by the way is Fred Astaire's hometown, I could die an even happier man than I am now at having the incredible opportunity so see and meet Petula...a lifelong dream come true.

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Petula Clark is such an amazing singer! She is already 81 years old and still on stage! She is one of my all time favorites and I try to see her every two years.

Her music and her voice are just incredible, even now she is still a great performer and very inspirational. Her song “Imagine” has such a beautiful message and every time she sings that song, everybody is just in awe. She has so many beautiful songs and I could never get enough of them, that's why I love going to her concerts.

She always looks so stunning, the dresses she wears are beautiful. She speaks French and English when she talks to her fans and really tries to engage. The venues I have seen her at are beautiful, stylish and fit perfect with her style of music. It's always packed with people, never see empty any empty seat. The sound in the venue is great, and makes the songs sound even better, if that's at all possible.

I have always loved Petula Clarke... Since the 'Huggets', and listening to her as a Teenager on the Radio...She was singing: 'Down on the coast of Spain, there lies a lovers lane.... I was born on the very same day as Petula. I wish I could meet her, but don't know how to...She has just finished her tour I believe, and, I never got to see her.. I was hoping to, but have missed out... Roland R.Peach.

The show on the 19th was fantastic! Petula is the most amazing songstress I have ever seen or hope too. Every song was done with heart and with the one minor technical glitch, which she handled like the true professional she is, every moment was magical. If you have never seen Petula in concert, you really need to do so. My wife and I had the best time ever!

I saw Petula on 23rd October and had the best evening ever - I've seen all the greats (Garland, Bassey, and so on) but Petula was up amongst them and I am dying to buy more tickets to see her in London. Does anybody know if she is performing in the future? Please email [email protected] if you have any news of this nature. Thank you.

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A Sign of the Times Tickets

A new musical featuring 1960s pop hits from Petula Clark, Lesley Gore, Dusty Springfield and more.  

A Sign of the Times Show Times

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About A Sign of the Times on Broadway

Video & photos.

You’re invited to journey back to America’s most unforgettable decade as a young photographer tries to make her way in the world amid the changing times and changing music that defined an era. A totally original story with such classic songs as "Downtown", "Gimme Some Lovin’", "Rescue Me", and "I Know A Place", plus dozens more,  A Sign of the Times  explodes with the music you love, the moves you’ll never forget, and the madness that shaped that generation – and our own.

Cast & Creative

Chilina Kennedy recently played Elle in the one-woman play  The Human Voice  (filmed for Toronto’s Ontario International College) and starred as Dina in the International Tour of  The Band’s Visit  opposite Sasson Gabay (Toronto Theatre Critics’ Award). Broadway: Carole King in  Beautiful: The Carole King Musical  (over 1200 performances) and Mary Magdalene in Des McAnuff’s  Jesus Christ Superstar . Off-Broadway: originated the role of Binky in Stephen Trask and Peter Yanowitz’s  This Ain’t No Disco  (Atlantic Theater Company). 1 st  National Tour: Sophie in  Mamma Mia!  Film:  With Me  (BravoFact, NY Shorts and Whistler Film Festivals). Selected Regional: Phoebe in  A Gentleman’s Guide to Love and Murder  (CT and San Diego Critics' Circle Nominations), Evangeline in  Evangeline  (original production and album), Philia in Des McAnuff’s  A Funny Thing Happened on the Way to the Forum  (Toronto/Mirvish) ,  Ross Petty’s Pantomime  The Little Mermaid  (Toronto Theatre Critics’ Award) ,  three seasons at the Stratford Festival, three seasons at the Shaw Festival and  The Lord of the Rings  (World Premiere Mirvish/Toronto). Chilina is currently developing a show that she composed and co-wrote with Eric Holmes,  Call It Love.  She is also the Artistic Producer of Toronto’s Eclipse Theatre Company.

Broadway:  Spider-Man: Turn Off The Dark  (Peter Parker),  Rock of Ages  (Drew),  Bonnie and Clyde  (Swing).   TV/Film: Jesus Christ Superstar: Live on NBC, Law & Order: SVU, Mr. Robot, Delocated, Royal Pains ,  Stormchaser ,  Big Exit ,  Apple Pie  and more! Justin has performed alongside music legends like John Legend, Alice Cooper, Sara Bareilles, David Byrne, Dee Snider, REO Speedwagon, and Air Supply. Justin has also toured the country singing everything from Queen to Andrew Lloyd Webber. Thanks to Hybrid Agency and Stevie Boothe Management! 

Most recently seen in the critically acclaimed new musical  The 12  as Pete, his credits include: Broadway:  The Color Purple  Revival as Bobby,  The Play That Goes Wrong  as Trevor,  Hamilton  as Aaron Burr. Off-Broadway:  Fortress of Solitude  (Public Theater),  Black No More  (The New Group/Signature Theater). Regional:  Mr. Holland’s Opus  as Glenn Holland (Ogunquit Playhouse),  Sister Act  as Curtis (Paper Mill Playhouse),  Dreamgirls  (North Shore Music Theater),  To Kill a Mockingbird  (as Tom Robinson, Dallas Theater Center),  The Royale  (as Jay Jackson, Repertory of St. Louis). Film:  Spilt Milk  (as Rodney),  Seasons of Gray  (as Chris),  Miss Juneteenth  (as Bacon). TV: Empire (as Eric Houston, FOX), Chicago Med (as Trevor, NBC). Voice-over:  One Piece: Heart of Gold  (as Psycho P),  Borderlands Pre-sequel  (as Dunks Watson),  The Walking Dead: Survival Instinct  (as Chris Brian). American Idol Season 7.

Off-Broadway: A Bright Room Called Day (Zillah; Antonyo Award nomination), Ain’t No Mo’ (Passenger 5, Lucille Lortel Award), The Public Theater; Bull in a China Shop (Felicity), Lincoln Center Theater; Little Children Dream of God (Madison), Roundabout Theater. Regional: The Taming of the Shrew (Petruchio), Chicago Shakespeare Theater; A Sign of the Times (Tanya), Delaware Theatre Company. TV: Law and Order: SVU  (Aneeka Coleman), The Last O.G.  (T’era). Film: Goodnight Mommy (Sandy Liddell), Amazon Studios; Frank and Azalee Austin (Azalee, Craft Acting Award). Education: MFA, Tisch Graduate Acting, New York University; BFA, Acting, Western Michigan University. Actors’ Equity Association member.

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Petula Clark Concert Setlists & Tour Dates

Petula clark at alice tully hall, new york, ny, usa.

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Petula Clark at Queen Elizabeth Theatre, Toronto, ON, Canada

• Walk Through the World / Meant to Be
• Don't Sleep in the Subway
• Who Am I / Colour My World
• While You See a Chance
• Look to the Rainbow
• How Are Things in Giocca Morra?
• With One Look
• Round Every Corner / Call Me / Don't Give Up / The Other Man's Grass Is Always Greener
• The Rainbow

Petula Clark at Francofolies 2019

• My Love (French) / Je me sens bien auprès de toi
• Je reviens de loin
• Que fais-tú lá Petula / Chariot (Sul mio carro)
• Cœur blessé
• Ceux qu'on aime
• La chemin de la gare
• C'est ma chanson
• A corps perdu

Petula Clark at Perth Concert Hall, Perth, Australia

Petula clark at norwood concert hall, adelaide, australia, petula clark at the glasshouse, port macquarie, australia, petula clark at state theatre, sydney, australia, petula clark at hamer hall, the arts centre, melbourne, australia, petula clark at qpac cremorne theatre, brisbane, australia, petula clark at brolga theatre, maryborough, australia.

Petula Clark

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Most played songs

• Downtown ( 121 )
• Don't Sleep in the Subway ( 109 )
• I Couldn't Live Without Your Love ( 102 )
• This Is My Song ( 96 )
• My Love ( 90 )

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1910 Fruitgum Co. The Action The B‐52s The Best of Britain Jane Birkin Björk Gigliola Cinquetti The Cold Crowded House Betty Curtis The English Channel The Findells Bill Frisell The Frogs Robbie Fulks Giorgia Engelbert Humperdinck Laurence Jalbert Sonny James Laurence Juber Christine Lavin Lulu Henry Mancini Chris Montez Ashley Naylor The New Christy Minstrels Wim Opbrouck Jimmy Osmond Prudence Gary Puckett & the Union Gap The Rascals Martha Reeves and the Vandellas The Replacements The Saw Doctors Connie Smith The Soap Opera James Taylor The Midtown Men Mary Travers Frankie Valli & The Four Seasons Fredo Viola The Vogues Helena Vondráčková Andy Williams Mari Wilson Dana Winner

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83 people have seen Petula Clark live.

ilovemusic Shasha waynec59 DaveFungi Emily_In ibrink8 thechamp617 dabramsanderson MikeBlack93 moo_18 auntiedi Ron92648 susyblue ndtraveller Guv1962 bionichan SnoWoods Willy123 hrhtina earivas TJBatson Btonis solidrock thighmaster xmcd CharlesD EverynightChas beatlefanfcb Concertphile Buckweet camumfan wmsvldaddy Dreamlander60 BradPrice colingham RogerT Datsall Lazybone9 Hockney RevRocco fredney17 RobBruce arcane93 stvernon bamjuggler thesnufkin MattyGroves ChrisDennis55 Ibnherb bwfcdom83

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Petula Clark

• Born November 15 , 1932 · Ewell, Surrey, England, UK
• Birth name Petula Sally Olwen Clark
• Height 5′ 2″ (1.57 m)
• Petula Clark was a star at the age of 11. She starred in British concert halls and on BBC radio singing for the troops during WWII. She was a child star in a series of British films from the end of WWII through to the early 1950s,and by 1954 was having hit records. After a move to France in 1960, having fallen for a Frenchman, she had hit records all over Europe ,and by 1966 with such hits as "Downtown" and "My Love" having topped the American charts, became a truly international star. - IMDb Mini Biography By: Steve Crook <[email protected]>
• Petula Sally Olwen Clark was born in West Ewell Surrey, England on November 15, 1932. Petula made her first broadcast as a singer for the BBC Radio Overseas Service in October 1942, and became an overnight star on BBC National Radio in December 1942 at the age of 10. After many radio shows for the BBC during World War 2, Petula made her film debut in "Medal for the General" in 1945. Notable films include the classic Powell/Pressburger film "I know where I'm going" (1945), London Town (USA "My heart goes crazy") (1946), Vice Versa (directed by Peter Ustinov) (1948), and the classic Huggett trio of family films which were to be the forerunner of television soap operas in the UK (1948-9). Her first leading role was in "Don't ever leave me" (1949), and "The Card" (USA "The Promoter") with Alec Guinness and Glynis Johns (1952). Petula was nominated for an award for best supporting actress in the hospital film drama "White Corridors" (1951) which even got shown in East Germany as well as New York. British film-goers voted her their 6th best actress in 1951 just behind Greer Garson and ahead of Jane Wyman. As well as her film work, Petula was a regular on BBC radio and television and British stage variety shows, and from 1957 in France and other European territories. She acted in comedy radio shows such as "Life of Bliss" and radio series with her pianist and musical director Joe "Mr Piano" Henderson. Petula was a recording star in the UK from 1949, with "The little shoemaker"(1954) being her first top 10 hit (also hitting #1 in Australia) and "With all my heart" which took her to France where by 1962 she became their top female singer with such big selling hits as "Chariot", "Coeur blessé" and "Ya ya twist", securing her the prestigious Grand Prix National du Disques Francais. Her hits in four languages included "Monsieur" selling a million copies sung in German! Her song "Sailor" became her first of 2 #1 hits in the UK. Although Petula had recorded an album in Hollywood in 1959 and some of her early songs had limited releases in the USA, it was not until 1965 that she became an overnight sensation with "Downtown" topping the charts, and the first of many appearances on the Ed Sullivan Show. It made her the first British female singer since Vera Lynn in 1952 to sell a million copies in the USA and with "My love" first to top the USA charts twice! Petula has three Grammy awards (two for "Downtown" and one for "I know a place", and Cashbox in the USA voted her top female singer of 1966. Petula also had success as a songwriter with the Top 5 USA hit covered by the Vogues "You're the one" in 1965, and "Now that you've gone" covered by Connie Stevens. In Europe and Canada she had self-penned hits "Je chante doucement", "Que fais-tu la Petula", "You're the one", "L'agent secret", and "Bleu blanc rouge". Petula also appeared as herself and sang and wrote incidental film music for "A Couteaux Tires" (USA Daggers Drawn) in 1964. By 1966, Petula was one of the most popular and best selling female singers in the world with other hits including "I couldn't live without your love", "This is my song", "Sign of the times", "Don't sleep in the subway" and "Kiss me goodbye". In 1967 she was presented with the "International Award" for record sales in Europe from. July 1965 to June 1966 by "Midem" (International music trade awards) ,and in 1968 the "International Trophy " alongside the Beatles and Herb Alpert based on record sales between July 1966 and June 1967, AND the National trophy for Britain also awarded to the Beatles and Tom Jones. Her many USA television appearances included duets with Andy Williams, Dean Martin, Bobby Darin, Danny Kaye, Helen Reddy, Perry Como, Harry Belafonte, Glen Campbell, Carol Burnett, Richard Carpenter, The Everly Brothers, Peggy Lee, Tom Jones, and even Bob Hope!. As a dramatic actress on television, Petula starred in the 1957 ITV drama "Guest in the house". In 1972 she appeared as herself in "Here's Lucy" with the legendary Lucille Ball playing her secretary for the day! In 1981 in France, Petula had a major role in the French drama serial "Sans Famille". Hollywood films were "Finian's Rainbow" directed by Frances Ford Coppola with Fred Astaire (1968) giving Petula a Golden Globe nomination, and the musical version of "Goodbye Mr Chips" with Peter O'Toole in 1969. Her most recent film was the British movie "Never never land" (1980) directed by actress Diane Baker. As a stage actress her credits are "Sauce for the Goose" (UK 1950), "The constant Nymph" (UK 1954), "The Sound of Music" (breaking house records as Maria in London 1981-2), "Candida" (UK 1983), "Someone like you" (1989-90 UK tour and London, 1990) for which she wrote the music, "Blood Brothers" Broadway (1993-4) and USA tour (1994-5) with David Cassidy and "Sunset Boulevard" as Norma Desmond (London 1995-7) and USA tour 1998-2000). As a singing star, Petula has taken her one woman show from London's Royal Albert Hall to the Sydney Opera House and Washington's Kennedy Center. Petula has given bilingual concerts at the Paris Olympia and Place des Arts in Montreal. She has been a Las Vegas headliner since 1966, with a million dollar contract to headline at Caesars Palace. In 2010 she made a triumphant return to Vegas this time at the renowned Las Vegas Hilton. As a television star, Petula was one of the first female singing stars, if not the first, to have their own BBC TV series (1946) and since then has had TV specials and series around the world including one notable show which she hosted broadcast live to France from Liverpool's famous Cavern club. Petula co-hosted the BAFTA awards from the Royal Albert Hall in 1974, and hosted episodes of the legendary American series "Hullabaloo", Kraft music hall and "Hollywood Palace". In 1972 David Frost featured her as sole guest on one of his legendary David Frost Shows live from New York, and in 1979 she hosted a "Golden Gala" from London's Drury Lane celebrating the European Union and broadcast all over Europe. Petula's three American television specials (1968-70) were shown internationally, and her 1974 BBC TV series "The Sound of Petula" won her the "Most exciting female singer on TV" award. In France she starred in her own variety shows and series, including the popular "Top" and "Numero Un" specials broadcast live. Petula would sing with many French legends such as Serge Gainsbourg, Johnny Halliday, Charles Aznavour, Sacha Distel and Dalida. As well as her CBE presented by Queen Elizabeth in 1998, in 2012 Petula was awarded the honour of Commander of the Order of Arts and Letters in Paris, for her distinguished career in France. In 2013 at the age of 80 Petula was back with a new Top 30 album success in the UK ("Lost in you" Sony Records), and her new recording of "Cut copy me" became a remixed dance top 40 hit all over Europe. The song was also voted by the prestigious "Time" magazine into their Top 10 songs of 2013. Petula married Frenchman Claude Wolff in 1961, and they had three children, Bara (1961), Kathy (1963) and Patrick (1972). Claude passed away in 2024. In 2016 Petula recorded a concert for Arte Television in Germany in one of their popular "Live in Berlin" series to promote her forthcoming album "From now on" .This was shown in Germany and France and also shown by the BBC in the UK. The album hit the UK charts ( 62 years after her first chart success! ) and Petula also toured the UK with 15 dates in October 2016 to further promote the album with her one woman show.,which ended at the Theatre Royal Drury Lane,London. - IMDb Mini Biography By: Mike Jones
• Petula was back touring Australia in 2017 with her one woman show ,and In 2018 released a new album of French songs in Canada specially written for her by French Canadian composers ,and subsequently toured French speaking Canada with her two hour concerts to promote her French album ,as well as her regular English speaking concerts in Canada, and a major tour of the USA from the Saban Theatre in Los Angeles to standing room only at the BB King Blues Club in New York City . In 2019 Petula again undertook a major concert tour of Australia before returning to London to play the bird woman in a West End revival of "Mary Poppins" at the Prince Edward Theatre where 77 years earlier she had appeared as a child star singing for the troops and the BBC Radio Empire Service ! In August 2021 ,Petula returned to her role in the London production of "Mary Poppins" after the 17 month enforced closure due to the world pandemic.. The day before her 90th birthday , producer of Mary Poppins Sir Cameron Mackintosh paid tribute to Petula on stage at the Prince Edward Theatre at the end of the performance and showed the audience film clips from her 80 year career . BBC TV also paid tribute to Petula with "Petula Clark at the BBC" on which they commented on her "..extraordinary career that's unlikely to ever be equalled ". Petula continued performing in Mary Poppins on the London stage until the final performance in January 2023. - IMDb Mini Biography By: Mike Jones
• Spouse Claude Wolff (June 8, 1961 - March 20, 2024) (his death, 3 children)
• Parents Leslie Norman Clark Doris Clark
• Her mole, which she began sporting in 1966 (originally on the bottom-left corner of her chin; since 1967, on the bottom-right corner)
• Has sold more than 70 million records worldwide, and was the best-selling British female vocalist of the 1960's.
• In 1968 she and Harry Belafonte were singing a duet on her show when she touched his arm. A representative for the show's sponsor, Chrysler Corp., saw it and ordered the director to have them re-tape the duet and not to have Clark touch his arm, the rationale being that viewers in the American South would be outraged to see a white woman touching a black man, and the South was a big market for Chrysler's cars. Clark redid the scene, but when she found out the reason why, she and her husband--the show's producer--stormed into the control booth, ordered the director to destroy the second take and keep the original one. As expected, when the show was aired a few weeks later many stations in the South wouldn't show it, and Chrysler received many letters from outraged Southerners saying they would never buy a Chrysler product again because of the company's sponsorship of the show.
• Her favorite songs are "Black Coffee" by Peggy Lee , "I've Got You Under My Skin" by Frank Sinatra , "Hallelujah" by Michael McDonald , "This Masquerade" by The Carpenters , "Life In The Fast Lane" by Eagles , "Something" by The Beatles , "Wouldn't It Be Nice" by The Beach Boys and "Love For Sale" by Clare Teal . Of all the songs she has recorded, her favorites are "To Memphis" and her duet with Dusty Springfield , "Corner Of The Sky". (Source: BBC Radio 2 "Tracks of My Years").
• She has recorded well in excess of 1000 songs.
• She was awarded the CBE (Commander of the Order of the British Empire) in the 1998 Queen's New Year Honours List for her services to music.
• [8/29/99, interview in The Arizona Republic] I've thought about stopping working, just briefly. Sometimes I stop and think, "Wait a minute. When I finish this, what do I do?" But I don't have what normal people call a home. There's no place where I can go and grow my radishes. That's pretty weird when you think about it.
• I love singing. There's nothing quite like that something that happens between an audience and performer. It's like communion.
• I'm not one of those people who all the time rummage around in their past and find stories. Not very long ago I went back to Wales, where I spent a lot of my childhood, and it's almost not there anymore. It's a strange thing looking back. Of course, our past is what makes us who we are, but I don't dwell on it, frankly.
• [on her life as a child star in the 1940s] Because of the circles I mixed in, professionally, I knew about things that children in those days were shielded from. Yet, at the same time, I was still very young in my own experiences of life. It was all rather peculiar and confusing.

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The new Petula Clark tour of Sunset Boulevard has announced its schedule through early May. The show, directed by Susan Schulman and produced by PACE Theatrical Group and Columbia Artists, will begin performances on Nov. 30, 1998, at Pittsburgh's Benedum Performing Arts Center, after a few weeks of technical rehearsal at West Point's Eisenhower Auditorium. A complete list of tour dates, as it now stands, follows:

Nov. 30-Dec. 6, 1998: Pittsburgh, PA Dec. 7-13: Richmond, VA Dec. 14-20: Columbus, OH Dec. 21-27: Houston, TX Dec. 28, 1998-Jan. 3, 1999: Louisville, KY Jan. 4-10: Kansas City, KS Jan. 11-17: Memphis, TN Jan. 18-31: Philadelphia, PA Feb. 1-7: Newark, NJ Feb. 8-24: Cleveland, OH Feb. 25-28: Schenectady, NY Mar. 1-21: Detroit, MI Mar. 22-28 : Providence, RI; Rochester, NY Mar. 29-Apr. 4: Baltimore, MD Apr. 5-11: East Lansing, MI Apr. 12-18: Hershey, PA Apr. 19-May 2: New Haven, CT May 3-9: New Orleans, LA May 10-16: Orlando, FL

Additional cities are to be added.

The tour will have the same script, the same score, and the same costumes as the Broadway production. It will also have former London Norma Desmond, Petula Clark. What is won't have is the same production design -- specifically that gargantuan set.

"The physical production is obviously going to be modified," said Scott Zeiger, president of PACE Theatrical Group. "During the first tour, it was physically too heavy." The musical's initial U.S. tour began a projected six year journey in July 1996, but came to an abrupt end less than one year later. Zeiger told Playbill On-Line that Sunset 's original road company actually did remarkably well, when compared to the box-office income of comparable touring shows, but was sunk by load-in costs. Fully $1 million was spent every time the original set, designed by John Napier, was ferried from one city to the next. Such expense made it imperative that the show remain at each tour stop for a minimum of five weeks in order to make up the cost. "In a mid-sized market like Tampa, the show grossed two-and-one-half million over the run," explained Zeiger. "But spread out over five weeks, when the break even point is $500,000, that's terrible." The new set will be easily transported and enable the tour to make short, week-long stops. Under those circumstances, said Zeiger, "even if we have a quarter of the figures [of the last tour], and do a quarter of the run, that would be fantastic."

The new design team, to be selected by Schulman (Broadway The Sound of Music ), should be announced in six-week's time, said Zeiger.

Trevor Nunn directed both the original London and Broadway productions. The musical, based on the 1950 Billy Wilder film of the same name, traces the intertwined fates of a faded silent film actress and a dissipated screenwriter.

-- By Robert Simonson

The world premiere musical from Anna K. Jacobs and Michael R. Jackson plays Playwrights Horizons.

Victoria Clark won her second Tony Award starring in the title role.

Set in a restaurant on the brink of collapse, the piece plays Playwrights Horizons.

Pauly is starring as Jordan Baker in the new musical, which opened at the Broadway Theatre April 25.

The musical at MCC Theater stars Damon Daunno, Taylor Iman Jones, and Tony winner Lauren Patten.

The comedy serves as Larsen's first family-friendly play after a prolific career writing X-rated queer comedies.

The two-time Tony nominee is playing March family matriarch Marmee opposite Kennedy Caughell as Jo.

Nominations for this year's awards are set to be revealed April 30.

Plus, see Tony winner Adrienne Warren, Marla Mindelle, the former queens of Six on Broadway, and more out to celebrate the new musical.

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LIVE - IN CONCERT

• THE FORTIES
• THE FIFTIES
• THE SEVENTIES
• THE EIGHTIES
• THE NINETIES
• THE MILLENIUM
• THE TWENTY-TENS

Cherbourg FRANCE

Opening act: sasha distel, assorted venues france / belgium, tivoli glassalen copenhagen, denmark.

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

July 30, 1960, palm beach gala cannes, france, festival comblain-la-tour, belgium.

La Mutualité Paris, FRANCE

Gala des p.t.t., olympia theatre paris, france, petula clark, bob azzam et son orchestre, jean-claude darnal, charlie cairoli, limbos dancers, les balcombes, tags brothers, del rey and winnie, shaller bros.

Le Maillon's Club, Eden Mouscron, Wallonia, BELGIUM

Avec marcel amont.

Capitol Theatre Horsham, England, UK

New city jazzmen, winter gardens bournemouth, england uk, london palladium london, england uk, south africa, cannes, france, palais de challot france, private engagement for u.s. president john f. kennedy & french president charles de gaulle., room at the top hereford, essex, england uk, wintergardens, margate, kent, uk, winter gardens, bournemouth, england uk, petula clark, valetta iacopi, ronald hill, jack byfield, max jaffa, reginald kilbey.

Assorted venues FRANCE, BELGIUM

Petula clark, jean-claude darnal, edmond taillet, pierre nival, les mickel's, les menchassy bros.

A.B.C. Theatre Le Havre, France

Gala des étoiles petula clark, richard anthony, jean-claude darnal, paulette zoiga, michel berty, marcel blanche, claude richard & partner, les rollys sisters., granada theatre bedford, england uk, petula clark, emile ford and the checkmates, the allisons, susan singer, the kestrels, the trebletones.

June 19, 1962

Room at the top ilford, essex, england uk, st-raphael france.

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, grenoble, france, bagarette club knokke, belgium, comédie-canadienne montreal, canada.

Paris Olympia Paris, FRANCE

Knokke, Belgium Royan, FRANCE Knokke, Belgium Trouville, FRANCE La Reole, FRANCE Choisy, FRANCE St. Ouen, FRANCE Blois, FRANCE S.P.A., FRANCE Nice, FRANCE Lyon, FRANCE St. Michel, FRANCE Knokke, Belgium Dieppe, FRANCE St. Malo, FRANCE La Baule, FRANCE Brussels, Belgium Choisy, FRANCE Plombieres, FRANCE Blois, FRANCE Ajaccio, FRANCE Corsica, FRANCE Frejus, FRANCE St. Laverne, FRANCE Hyeres, FRANCE Vic-sur-Cere, FRANCE Ostende, FRANCE Perpignan, FRANCE

1965 french/belgian tour song list: ya ya twist, romeo, chariot/i will follow him, i gotta travel on, dance on, foottapper, etc. photos.

June 11, 1965

Stockholm sweden, august 9, 1965, monte carlo monaco, august 28-29, 1965, palma spain, september 1, 1965, copacabana new york city, new york, usa, opening act: lee tully.

Harold's Reno, Nevada USA

December, 1965, the forum liege, belgium, hazyland zurich, switzerland, ankara turkey.

Capitol Theatre Ottawa, CANADA

Civic centre rimouski, quebec, canada, 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

May 13, 1966

Elliot hall of music, purdue university, w. lafayette, indiana, usa, with count basie & his orchestra, arie crown theatre chicago, illinois, usa.

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, copacabana, new york city new york, usa, opening act: howard storm.

The Blue Room at the Shoreham Washington D.C., USA

Caesar's Palace Las Vegas, Nevada, USA

Woody allen (headliner) brascia & tybee.

Harolds Reno, Nevada, USA

Opening act: the four stepbrothers.

Diablo Valley College Pleasant Hill, California USA

Northern arizona university flaggstaff, arizona, usa.

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

Gammage auditorium arizona state university phoenix, arizona, usa.

Municipal Auditorium Long Beach, California, USA

Memorial Auditorium Sacramento, California USA

Memorial Coliseum Portland, Oregon USA

White house correspondents dinner sheraton park hotel, washington dc, usa.

Petula with American Vice-President, Hubert Humphrey.

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.

In rehearsal

Washington Hilton Hotel Washington, D.C. USA

O'Keefe Center Toronto, CANADA

Salone Del Linta Park Hotel Asiago, ITALY

Festivalbar 1968, 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.

Grand Theatre Geneva, Switzerland

The coliseum jackson, mississippi, usa, the spectrum philadelphia, pennsylvannia, usa, benefit for henry f. ortlieb charities., the masonic auditorium detroit, michigan , usa, opening act: drummer buddy rich, public hall cleveland, ohio, usa, opening act: drummer buddy rich.

Place des Arts Montreal, CANADA

Opening Act: Comedian George Kirby

Caesar's Marquee

Magazine advertisement

Ohio State Fair Columbus, Ohio, USA

Photos by Gary Schmidt

Ohio state fair august 29, 1969.

Photo by Ted Wyler

Harrah's lake tahoe, nevada, usa, opening act: magician, blackstone, jr..

Harrah's Tahoe August 10-27, 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

The Auditorium Chicago, Illinois, USA

Empire room waldorf-astoria new york city, usa.

Photo courtesy of Music Director Frank Owens