March, 2019
PETULA TO JOIN THE CAST OF MARY POPPINS IN LONDON
THEATRE
THEATRE
MARY POPPINS (Revival)
- 23 October, 2019 - 12 November, 2019 - Previews
- 13 November, 2019 - 15 March, 2020 [Early close due to Coronavirus Pandemic]
- 7 August, 2021 (Post-Pandemic reopening) -
Scheduled to resume 7 August, 2021
After a 22 year absence from the West End, Petula is now starring in a featured role as the Bird Woman in the current revival of the classic musical, Mary Poppins. Petula sings the iconic song "Feed the Birds," and in recognition of Petula's musical abilities, the show's producers have expanded the role so that she is also featured in the "Anything Can Happen," number.
MARY POPPINS (Revival)
- 23 October, 2019 - 12 November, 2019 - Previews
- 13 November, 2019 - 15 March, 2020 [Early close due to Coronavirus Pandemic]
- 7 August, 2021 (Post-Pandemic reopening) -
Scheduled to resume 7 August, 2021
After a 22 year absence from the West End, Petula is now starring in a featured role as the Bird Woman in the current revival of the classic musical, Mary Poppins. Petula sings the iconic song "Feed the Birds," and in recognition of Petula's musical abilities, the show's producers have expanded the role so that she is also featured in the "Anything Can Happen," number.
Reviews
Photo: Johan Persson
Anything Can Happen - Photo: Johan Persson
Cast recording due out in 2020
It has been announced that the London production of Mary Poppins will release a cast recording!
The recording, featuring the 2019 cast, will be released next year.
Joining Zizi Strallen in the title role, Charlie Stemp as Bert, Joseph Millson as George Banks and Petula Clark as the Bird Woman, are Amy Griffiths who will play Winifred Banks, Claire Moore as Miss Andrew, Claire Machin as Mrs Brill, Jack Northas Robertson Ay and Barry James as Bank Chairman and Admiral Boom.
The original music and lyrics by Richard M. Sherman and Robert B. Sherman include the classic songs Jolly Holiday, Step in Time, Feed the Birds and Supercalifragilisticexpialidocious. New songs and additional music are by the Olivier award-winning British team of George Stiles and Anthony Drewe.
Book is by Academy Award-winning screenwriter and Downton Abbey creator, Julian Fellowes and this production is co-created by Cameron Mackintosh. The producer for Disney Theatrical Productions is Thomas Schumacher.
This production of Mary Poppins has orchestrations by William David Brohn with dance and vocal arrangements by George Stiles. It has a new sound design by Paul Gatehouse.
REVIEW - Alex Belfield, Celebrity Radio
From choreographer Matthew Borne via Twitter:
SUNSET BOULEVARD
- November 17, 1998--April 9, 2000, US Tour
- January 9, 1996--April 5, 1997, Adelphi Theatre, West End, London, UK
- September 2, 1995--October 14, 1995, Adelphi Theatre, West End, London, UK
(Six-week run, subbing for Elaine Paige)
Without a rest from her grueling Blood Brothers tour in the USA, Petula was asked to play Norma Desmond in Andrew Loyd Webber's Sunset Boulevard in London's West End. Petula thought she wouldn't be right for the part, but fortunately Trevor Nunn was able to convince her that she'd be "marvellous." Trevor honored Petula at a "This Is Your Life" taping (Petula's third) by stating unequivocally, "Petula is the real thing!"
Petula performed in Sunset for what everyone believed would be the final time before a packed house in London's West End on April 5, 1997.
The following year, Petula (missing "Norma") embarked on an 18 month U.S. tour and became the longest running Norma to date.
SUNSET BOULEVARD
- November 17, 1998--April 9, 2000, US Tour
- January 9, 1996--April 5, 1997, Adelphi Theatre, West End, London, UK
- September 2, 1995--October 14, 1995, Adelphi Theatre, West End, London, UK
(Six-week run, subbing for Elaine Paige)
Without a rest from her grueling Blood Brothers tour in the USA, Petula was asked to play Norma Desmond in Andrew Loyd Webber's Sunset Boulevard in London's West End. Petula thought she wouldn't be right for the part, but fortunately Trevor Nunn was able to convince her that she'd be "marvellous." Trevor honored Petula at a "This Is Your Life" taping (Petula's third) by stating unequivocally, "Petula is the real thing!"
Petula performed in Sunset for what everyone believed would be the final time before a packed house in London's West End on April 5, 1997.
The following year, Petula (missing "Norma") embarked on an 18 month U.S. tour and became the longest running Norma to date.
Final Performance
Adelphi Theatre, London
April 5, 1997
Adelphi Theatre, London
April 5, 1997
Adelphi Theatre, London
The Final Curtain on London's Sunset
April 7, 1997
Following it's closure on Broadway two weeks ago, the London production of Sunset Boulevard played its final show Saturday to a sell out audience at the Adelphi Theatre, having played a total of 1,528 performances since its opening in July 1993.
Fans of the show, of Petula Clark (playing Norma Desmond) and fans of both filled a large majority of the audience along with many invited guests including many previous cast members. The writers Don Black and Christopher Hampton, director Trevor Nunn and the show's first Norma, Patti Lupone, were also there, although Andrew Lloyd Webber himself did not attend.
The cast gave a stunning performance and, as with the last night on Broadway, the audience went wild, applauding almost every scene throughout the show. As the show neared the end and Norma spoke her final words for the last time, "And now Mr De Mille, I'm ready for my close-up", the reality of "the end" finally set in and the audience rose to their feet for what seemed like the longest standing ovation ever.
April 7, 1997
Following it's closure on Broadway two weeks ago, the London production of Sunset Boulevard played its final show Saturday to a sell out audience at the Adelphi Theatre, having played a total of 1,528 performances since its opening in July 1993.
Fans of the show, of Petula Clark (playing Norma Desmond) and fans of both filled a large majority of the audience along with many invited guests including many previous cast members. The writers Don Black and Christopher Hampton, director Trevor Nunn and the show's first Norma, Patti Lupone, were also there, although Andrew Lloyd Webber himself did not attend.
The cast gave a stunning performance and, as with the last night on Broadway, the audience went wild, applauding almost every scene throughout the show. As the show neared the end and Norma spoke her final words for the last time, "And now Mr De Mille, I'm ready for my close-up", the reality of "the end" finally set in and the audience rose to their feet for what seemed like the longest standing ovation ever.
Petula Clark appeared onstage to take her bow and bouquets of flowers were thrown from all over the theatre. An emotional Petula wiped tears from her eyes as she stepped forward to make a speech. After an eternity of applause died down, she began by saying that the evening had all been a bit "dream like" for everyone concerned, then apologised if it bored anyone but she wanted to thank many people as it wasn't just the cast that made the show but a whole team of people, from those under the stage working the hydraulics to the sound crew, to the lighting people... Someone from the audience shouted "Sing something else Petula", which encouraged others to clap and cheer for more with numerous suggestions of "Downtown". Petula declined however, and joked that it wasn't really appropriate and that "Lord Lloyd-Webber would not like it!"
Determined to thank as many people as possible, she continued, inviting her dresser Michelle and her wig mistress Sue on stage to take a bow, and also the resident director, Richard Tate (also a former member of the cast). Trevor Nunn, Don Black and Christopher Hampton came onstage and in his speech, Trevor Nunn summed up the evening by commenting that "all good things must come to an end." Jokes were made about the number of people Petula had thanked, with someone pointing out that she'd forgotten to mention the flymen! With final words from Trevor Nunn thanking "All you wonderful people out there in the dark", the orchestra struck up and the curtain was lowered very slowly for the last time.
An after show party was thrown at the theatre for invited guests with many staying until the early hours of the morning. Dedicated fans had a long wait to see Petula Clark and to get their final autographs and photos. The huge number of bouquets and flower displays were piled into the car and Petula drove off into the sunset (well, not quite!). As guests left the party the sadness of the occassion finally seemed to sink in, after what had been a night that no-one will forget.
By Andrea Tushingham
For Lloyd Webber.Net
BLOOD BROTHERS
- September 5, 1994 -- May 21, 1995, US Tour
- August 16, 1993 - April 24, 1994, Music Box Theatre, Broadway, New York,
Billy Russell's contemporary prince-and-pauper musical tragedy set in Liverpool, is overlong by a fourth, boasts two songs worth a damn, no dancing, grown actors playing children, shuddery portents of doom, rhyming verse monologues and enough shmaltz to keep the Carnegie Deli in chopped liver well into the next century. The critics HATED it, and soundly (and loudly) predicted its demise. However, audiences that defied the critics and actually went to see the show loved it. Still, ticket sales floundered until an inspired bit of casting paired brothers, David and Shaun Cassidy and Petula Clark as their mother, in the leading roles. Audience attendance soared and the show boasted a standing ovation every performance for the duration of the run.
"Petula's extraordinary successful recording career has been well documented - when she took over in the Broadway production of Blood Brothers she reminded us all of what an outstanding actress she has always been. She will hate me for saying this, but she is also the most humble, the most adorable, and the most loving leading lady I have ever worked with. And I thank her for that amongst many things." - Bill Kenwright, 1995
(From the liner notes of the "definitive recording" of Blood Brothers with Petula and David and Shaun Cassidy by First Night Records.)
BLOOD BROTHERS
- September 5, 1994 -- May 21, 1995, US Tour
- August 16, 1993 - April 24, 1994, Music Box Theatre, Broadway, New York,
Billy Russell's contemporary prince-and-pauper musical tragedy set in Liverpool, is overlong by a fourth, boasts two songs worth a damn, no dancing, grown actors playing children, shuddery portents of doom, rhyming verse monologues and enough shmaltz to keep the Carnegie Deli in chopped liver well into the next century. The critics HATED it, and soundly (and loudly) predicted its demise. However, audiences that defied the critics and actually went to see the show loved it. Still, ticket sales floundered until an inspired bit of casting paired brothers, David and Shaun Cassidy and Petula Clark as their mother, in the leading roles. Audience attendance soared and the show boasted a standing ovation every performance for the duration of the run.
"Petula's extraordinary successful recording career has been well documented - when she took over in the Broadway production of Blood Brothers she reminded us all of what an outstanding actress she has always been. She will hate me for saying this, but she is also the most humble, the most adorable, and the most loving leading lady I have ever worked with. And I thank her for that amongst many things." - Bill Kenwright, 1995
(From the liner notes of the "definitive recording" of Blood Brothers with Petula and David and Shaun Cassidy by First Night Records.)
NEW YORK NEWSDAY
September 24, 1993
BY ALL RIGHTS, Willy Russell's "Blood Brothers" shouldn't work. A contemporary prince-and-pauper musical tragedy set in Liverpool, it's overlong by a fourth, boasts two songs worth a damn, no dancing, grown actors playing children, shuddery portents of doom, rhyming verse monologues and enough shmaltz to keep the Carnegie Deli in chopped liver well into the next century. It also wipes me away, without fail, every time.
Judging from the damp Kleenex count in the audience by the curtain call, I'm in good company. Regrettably, new audiences cannot revel in departed British cast members Stephanie Lawrence, Mark Michael Hutchinson and Con O'Neill, whose vivid performances camouflaged a multitude of blemishes. There are a number of consolations in the revised cast, not the least of whom is Petula Clark, who makes her Broadway debut in thrilling vocal form as a working-class mother who gives away one of her twin baby sons to a wealthy housewife out of economic necessity. Clark's dramatic range has always been somewhat limited, but she throws herself body and soul into the part with ultimately affecting results.
The gimmick of casting real-life brothers Shaun and David Cassidy as the. brothers Johnstone garners mixed rewards. If Shaun is no great shakes as a youngster, he grows in credibility as the privileged brother ages. David, by contrast. is a gutsy revelation as the poor but plucky Mickey, navigating the path from exuberant youth to depressed adulthood with a depth of feeling we never knew he had in him. The price of David Cassidy's hard-earned maturity is that it makes us feel oh-so old. Whenever Petula Clark sings with that precious Surry lilt, however, we're younger than springtime.
September 24, 1993
BY ALL RIGHTS, Willy Russell's "Blood Brothers" shouldn't work. A contemporary prince-and-pauper musical tragedy set in Liverpool, it's overlong by a fourth, boasts two songs worth a damn, no dancing, grown actors playing children, shuddery portents of doom, rhyming verse monologues and enough shmaltz to keep the Carnegie Deli in chopped liver well into the next century. It also wipes me away, without fail, every time.
Judging from the damp Kleenex count in the audience by the curtain call, I'm in good company. Regrettably, new audiences cannot revel in departed British cast members Stephanie Lawrence, Mark Michael Hutchinson and Con O'Neill, whose vivid performances camouflaged a multitude of blemishes. There are a number of consolations in the revised cast, not the least of whom is Petula Clark, who makes her Broadway debut in thrilling vocal form as a working-class mother who gives away one of her twin baby sons to a wealthy housewife out of economic necessity. Clark's dramatic range has always been somewhat limited, but she throws herself body and soul into the part with ultimately affecting results.
The gimmick of casting real-life brothers Shaun and David Cassidy as the. brothers Johnstone garners mixed rewards. If Shaun is no great shakes as a youngster, he grows in credibility as the privileged brother ages. David, by contrast. is a gutsy revelation as the poor but plucky Mickey, navigating the path from exuberant youth to depressed adulthood with a depth of feeling we never knew he had in him. The price of David Cassidy's hard-earned maturity is that it makes us feel oh-so old. Whenever Petula Clark sings with that precious Surry lilt, however, we're younger than springtime.
US Tour
Tour Review Highlights:
Dallas
"Clark is a revelation. Hers was among the finest female pop voices Britain produced in the '60s, and it remains an astonishing, instrument: beautiful, powerful, pure."
--Jerome Weeks
"The lion's share of the vocal chores fall to Ms. Clark, and she's smashing. As the twins' birth mother, she plays a sympathetic character with unforced warmth.
She has 10 songs and reprises, including heart-wringing ballads such as Easy Terms (when she gives up one child for adoption) and Light Romance (when two of the characters step over the line and provoke the tragic ending.)
Even when social theories raise their ugly heads, Ms. Clark can make the audience forget all about them by lifting up her voice."
--Lawson Taitte
Chicago
"Clark is a great strength. Her milky, trademark coddling of a melody subliminally calls to mind the '60s of much of the setting, and while still in full beauty, her voice is now seasoned with a bittersweet edge."
--Sid Smith
"As Mrs. Johnstone, the spirited loving mother of the twins, Petula Clark is sublime. Her superb vocal gift and fine craft as an actor come together as never before. Utterly retaining its piercing clarity and vivid emotional range, her voice is as beautiful as ever, and it is a rare treat to hear and see such an artist. She has a remarkable sense of deliciously restrained passion and truth that is entirely suited to the role she plays. Her unique ability to delicately convey both supreme joy and exquisite pain with intense power and conviction , is the awesome vehicle that carries the evening with potent and precious incandescence."
--Dominic Hamilton Little
"I have seen Blood Brothers several times before, and this new touring version of the tale of two twins separated at birth in class-conscious Liverpool is probably the best production yet. The basic design and direction remain intact from the London original, but previous incarnations did not have Petula Clark's remarkable performance at their heart. Her throaty soulful voice is only part of the pleasure. Clark is also a very fine actor."
--Chris Jones
"Clark, petite and relatively unchanged since she was the princess of pop three decades ago, is wonderful--an unfussy actress whose voice, with its distinctive little catch, is more expressive and powerful than ever."
--Hedy Weiss
Columbus
"Pop stars Cassidy, Clark are highlight of Blood Brothers"
--Tim Feran
Cleveland
"Petula Clark and David Cassidy can turn straw into gold. . .then there's Clark, working her own brand of magic. Hair a pale, frizzy halo, she stands a solid, loving presence, giving Russell's standard pop tunes mesmerizing intensity and warmth. Her Mrs. Johnstone is a realist, but also impulsive and emotional."
"Clark is a revelation. Hers was among the finest female pop voices Britain produced in the '60s, and it remains an astonishing, instrument: beautiful, powerful, pure."
--Jerome Weeks
"The lion's share of the vocal chores fall to Ms. Clark, and she's smashing. As the twins' birth mother, she plays a sympathetic character with unforced warmth.
She has 10 songs and reprises, including heart-wringing ballads such as Easy Terms (when she gives up one child for adoption) and Light Romance (when two of the characters step over the line and provoke the tragic ending.)
Even when social theories raise their ugly heads, Ms. Clark can make the audience forget all about them by lifting up her voice."
--Lawson Taitte
Chicago
"Clark is a great strength. Her milky, trademark coddling of a melody subliminally calls to mind the '60s of much of the setting, and while still in full beauty, her voice is now seasoned with a bittersweet edge."
--Sid Smith
"As Mrs. Johnstone, the spirited loving mother of the twins, Petula Clark is sublime. Her superb vocal gift and fine craft as an actor come together as never before. Utterly retaining its piercing clarity and vivid emotional range, her voice is as beautiful as ever, and it is a rare treat to hear and see such an artist. She has a remarkable sense of deliciously restrained passion and truth that is entirely suited to the role she plays. Her unique ability to delicately convey both supreme joy and exquisite pain with intense power and conviction , is the awesome vehicle that carries the evening with potent and precious incandescence."
--Dominic Hamilton Little
"I have seen Blood Brothers several times before, and this new touring version of the tale of two twins separated at birth in class-conscious Liverpool is probably the best production yet. The basic design and direction remain intact from the London original, but previous incarnations did not have Petula Clark's remarkable performance at their heart. Her throaty soulful voice is only part of the pleasure. Clark is also a very fine actor."
--Chris Jones
"Clark, petite and relatively unchanged since she was the princess of pop three decades ago, is wonderful--an unfussy actress whose voice, with its distinctive little catch, is more expressive and powerful than ever."
--Hedy Weiss
Columbus
"Pop stars Cassidy, Clark are highlight of Blood Brothers"
--Tim Feran
Cleveland
"Petula Clark and David Cassidy can turn straw into gold. . .then there's Clark, working her own brand of magic. Hair a pale, frizzy halo, she stands a solid, loving presence, giving Russell's standard pop tunes mesmerizing intensity and warmth. Her Mrs. Johnstone is a realist, but also impulsive and emotional."
Grand Rapids
"Clark is wonderful in the role of the misguided mother, bringing to the part, besides her unusually expressive vocal delivery, a bit of the comic amidst the tragic."
"Petula Clark is a show stealer as the apron-wearing fertile Myrtle with a heart of gold."
--Carmen S. Scheidel, Christopher Scapelliti
Washington
"An unaffected and charming performance by '60s pop star Petula Clark. Clark looks terrific and still possesses a powerhouse set of pipes."
--Pamela Sommers
Sacramento
"The best is a lovely folk lament called Easy Terms Sixties pop star Petula Clark, playing the twins' mother, gives it a haunting bittersweet lilt."
--Peter Haugen
Costa Mesa
"Clark whose voice remains appealing is less brassy than Stephanie Lawrence, who preceeded her on Broadway. She gives a warm and credible performance."
--Laurie Winer
San Francisco
"Clark's silvery pop voice has burnished with age and she sounds right as a bemused welfare mother who can still hope for a Bright New Day and lead the mournfullly indignant anthem, Tell Me It's Not True, that brings down the curtain with a full throated lament.
--Steven Winn
Petula Clark is absolutely convincing as the downtrodden Mrs. Johnstone, whose only real property is her sense of humor. She also belts out the hauting Tell Me It's Not True. Clark layers depth upon depth with her clear voice."
Los Angeles
The tour stars David Cassidy and Petula Clark who also spent several months together in the Broadway production. . .they are in fine voice, their smooth pop tones tinged with gritty rock growls. They are solid actors, too.
--Daryl H. Miller
"Petula Clark is looking great and sounding better than ever as Mrs. Johnstone."
--Rob Stevens
"Clark has a charming sincerity and, still, the clear and lovely voice of a goddess."
--Travis Michael Holder
"Clark is wonderful in the role of the misguided mother, bringing to the part, besides her unusually expressive vocal delivery, a bit of the comic amidst the tragic."
"Petula Clark is a show stealer as the apron-wearing fertile Myrtle with a heart of gold."
--Carmen S. Scheidel, Christopher Scapelliti
Washington
"An unaffected and charming performance by '60s pop star Petula Clark. Clark looks terrific and still possesses a powerhouse set of pipes."
--Pamela Sommers
Sacramento
"The best is a lovely folk lament called Easy Terms Sixties pop star Petula Clark, playing the twins' mother, gives it a haunting bittersweet lilt."
--Peter Haugen
Costa Mesa
"Clark whose voice remains appealing is less brassy than Stephanie Lawrence, who preceeded her on Broadway. She gives a warm and credible performance."
--Laurie Winer
San Francisco
"Clark's silvery pop voice has burnished with age and she sounds right as a bemused welfare mother who can still hope for a Bright New Day and lead the mournfullly indignant anthem, Tell Me It's Not True, that brings down the curtain with a full throated lament.
--Steven Winn
Petula Clark is absolutely convincing as the downtrodden Mrs. Johnstone, whose only real property is her sense of humor. She also belts out the hauting Tell Me It's Not True. Clark layers depth upon depth with her clear voice."
Los Angeles
The tour stars David Cassidy and Petula Clark who also spent several months together in the Broadway production. . .they are in fine voice, their smooth pop tones tinged with gritty rock growls. They are solid actors, too.
--Daryl H. Miller
"Petula Clark is looking great and sounding better than ever as Mrs. Johnstone."
--Rob Stevens
"Clark has a charming sincerity and, still, the clear and lovely voice of a goddess."
--Travis Michael Holder
SOMEONE LIKE YOU
- March 22, 1990 - April 26, 1990 The Strand Theatre, West End, London
- October 25, 1989 - December, Provincial Tour, UK
Someone Like You was touted as a "passionate musical love story born from the ashes of the Civil War" and opened in October of 1989 in Cambridge, England, playing provincially in five theatres to generally good notices before its transfer to the West End the following year. The show made its debut at the Strand Theatre, London on 22 March 1990 and closed a month later.
This project was Petula's "baby" for quite a number of years--from the germ of an idea hatched by Petula and Ferdie Pacheco, to a book by Robin Midgley and Fay Weldon, with music by Petula Clark and lyrics by Dee Shipman. The show's abrupt, and unexpected, closure (due primarily to a producer rumored to have had serious cash flow problems from a previous production) was a bitter disappointment for Petula. Among Petula fans, the show is remembered with great affection and a fervent desire for a "revival" somewhere in the States, or at very least, a complete show soundtrack.
The only songs from Someone Like You (or SLY as Pet calls it) released so far can be found on a single released by First Night Records: "Someone Like You" sung by Petula Clark and Dave Willetts / "Getting The Right Thing Wrong" sung by Petula Clark. The latter can also be found on the Petula Clark Anthology: Downtown to Sunset Boulevard.
SOMEONE LIKE YOU
- March 22, 1990 - April 26, 1990 The Strand Theatre, West End, London
- October 25, 1989 - December, Provincial Tour, UK
Someone Like You was touted as a "passionate musical love story born from the ashes of the Civil War" and opened in October of 1989 in Cambridge, England, playing provincially in five theatres to generally good notices before its transfer to the West End the following year. The show made its debut at the Strand Theatre, London on 22 March 1990 and closed a month later.
This project was Petula's "baby" for quite a number of years--from the germ of an idea hatched by Petula and Ferdie Pacheco, to a book by Robin Midgley and Fay Weldon, with music by Petula Clark and lyrics by Dee Shipman. The show's abrupt, and unexpected, closure (due primarily to a producer rumored to have had serious cash flow problems from a previous production) was a bitter disappointment for Petula. Among Petula fans, the show is remembered with great affection and a fervent desire for a "revival" somewhere in the States, or at very least, a complete show soundtrack.
The only songs from Someone Like You (or SLY as Pet calls it) released so far can be found on a single released by First Night Records: "Someone Like You" sung by Petula Clark and Dave Willetts / "Getting The Right Thing Wrong" sung by Petula Clark. The latter can also be found on the Petula Clark Anthology: Downtown to Sunset Boulevard.
In the winter of 1989, prior to its West End run, the show was put on its feet during previews in several theatres across England.
October 25 - November 11.......Cambridge Arts Theatre, Cambridge
November 13 - 18.......................Arts Centre, Poole
November 20 - 25.......................Theatre Royal, Brighton
November 27 - December 2.......New Theatre, Hull
December 4 - 9...........................Grand Opera House, York
CambridgeWest End Run:
March 22, 1990 - April 26, 1990The Strand Theatre, London
[Click here to read review]
All curtain call photos © Gary Schmidt
CANDIDA
by George Bernard Shaw
Cast in order of appearance
Prospepine Garnett........VICKERY TURNERReverand James Morell........MICHAEL CRAIG
Reverend Alexander Mill........OSMOND BULLOCK
Mr. Burgess........ARTHUR ENGLISH
Candida........PETULA CLARK
Eugene Marchbanks........JONATHON MORRIS
Review Highlights
Sutton County Herald
November 1, 1983
Pet has poise in Shaw play
November 1, 1983
Pet has poise in Shaw play
FORMER Surrey singing star Petula Clark s first "straight" stage role is remarkably well chosen
She plays the title role in George Bernard Shaw's Candida at the Yvonne Arnaud Theatre, Guildford--a part that she fills impressively, oozing confidence and capability.
Her role is largely symbolic though, and demands less than those of the men whose fight for her provides the meat of the play.
Their battle, between preacher and poet, principles and freedom, might easily weigh the play down. But Shaw's sparkle and the performer's zest make sure that the sermon and the gaiety both come across.
The Reverend James Morell (her husband) is a socialist reformer who spends every evening at public meetings speaking about fair wages and class reform. His rival is the boyish poet Eugene Marchbands, whose role is most complex. We see him first as a nervous mousy man, squeeling and unsure of himself. But Morell comes to see that Marchbanks 'knows everything'--he can see through the preaching to the 'windbag' beneath. And he can see that it is not his works that Candida married him for.
But it is not poetry and 'immorality' that Candida wants either. To her both the men are mere boys--only she knows how much Morell's good deeds depend on her support. And Marchbanks comes to realise that both men have treated her as if she had to belong to one or the other, when she really belongs to herself.
The fun comes from Jonathon Morris' over-the-top artistic sensitivity. Trained as a dancer, his body bends and springs to exaggerate his mood.
Michael Craig as Morell is utterly complacent, unable at first to see the threat that the boyish poet is turing to confusion and despair as he realises that rhetoric is not enough to keep Candida.
The cast succeeds in steering the play between the serious and the silly, so binging out the aspects of both which Shaw made no importance.
Candida plays at the Yvonne Arnaud Theatre, Guildford, until November 19.
P.B.
Woking & Byfleeet Herald
November 3, 1983
Pet sparkles as witty heroine
Petula Clark, who has just completed a West End run in "The Sound of Music" plays Shaw's heroine in the title part, and those who know her best as a singer are reminded by her sparkling peformance at Guildford that she is an actress of considerable experience and enviable talent. . .
Her role is largely symbolic though, and demands less than those of the men whose fight for her provides the meat of the play.
Their battle, between preacher and poet, principles and freedom, might easily weigh the play down. But Shaw's sparkle and the performer's zest make sure that the sermon and the gaiety both come across.
The Reverend James Morell (her husband) is a socialist reformer who spends every evening at public meetings speaking about fair wages and class reform. His rival is the boyish poet Eugene Marchbands, whose role is most complex. We see him first as a nervous mousy man, squeeling and unsure of himself. But Morell comes to see that Marchbanks 'knows everything'--he can see through the preaching to the 'windbag' beneath. And he can see that it is not his works that Candida married him for.
But it is not poetry and 'immorality' that Candida wants either. To her both the men are mere boys--only she knows how much Morell's good deeds depend on her support. And Marchbanks comes to realise that both men have treated her as if she had to belong to one or the other, when she really belongs to herself.
The fun comes from Jonathon Morris' over-the-top artistic sensitivity. Trained as a dancer, his body bends and springs to exaggerate his mood.
Michael Craig as Morell is utterly complacent, unable at first to see the threat that the boyish poet is turing to confusion and despair as he realises that rhetoric is not enough to keep Candida.
The cast succeeds in steering the play between the serious and the silly, so binging out the aspects of both which Shaw made no importance.
Candida plays at the Yvonne Arnaud Theatre, Guildford, until November 19.
P.B.
Woking & Byfleeet Herald
November 3, 1983
Pet sparkles as witty heroine
Petula Clark, who has just completed a West End run in "The Sound of Music" plays Shaw's heroine in the title part, and those who know her best as a singer are reminded by her sparkling peformance at Guildford that she is an actress of considerable experience and enviable talent. . .
Midweek Comet
November 2, 1983
Serious Sides to the Shaw-Footed Pet
November 2, 1983
Serious Sides to the Shaw-Footed Pet
To say petula Clark, the Kingston area's own contribution to superstardom, is making her stage debut as a straight actress in CANDIDA at the Yvonne Arnaud Theare, Guildford, is correct but blurs her track record.
She is no stranger to "straight" roles--and they require just as much technical prowess to play in films as they do on stage even if the techniques differ. So there is no blinding light of revelation in watching her step lively through Shaw's paces. Rather, confirmation of what a thorough, all-round professional she is.
It's not just that as Candida she is a the centre of attention, courtesy of the character and her box-office name. She brings to the role a fresh, sparky, natural good sense which more than any other element in Val May's production, lifts and lights up what is, at basics, a slight, fairly arid play.
Indeed, she rises airily above it by very dint of appearing not to be "acting" amid colleagues, especially in the lower ranks, who are, most strenuosly. (excerpt)
Surrey Advertiser
October 18, 1983
A gentle and serious 'Candida'
GEORGE Bernard Shaw's Candida was a sensible choice of play for Petula Clark's first straight role in the theatre. . .Petula Clark's Candida is sweet, sincere and --safe--surrounded by a flock of the tried and tested and the refreshingly inspirational. . .The play prompted genuine emotion and pricked he hearts of everyone who recalls the frustrations of adolescence, the silent prayers repeated at the foot of the bed.
West Sussex Gazette
November 10, 1983 Petula Clark makes the step from singing to straight acting look easy as she takes the title role in "Candida. To be sure, it is not the most demanding of roles, but she handles it with firmness, total accuracy and feeling.
The Stage
PETULA CLARK is a charming Candida, playing the role in a smiling and relaxed manner in Val May's delightful production of Bernard Shaw's trifle about the clergyman's wife with a soft spot forr a young earthy poet. Her silent acting is quite as expressive as her lines, which are delivered in an interesting way with plenty of personality. Petula Clark is authoritative too in the last act as she analyses them both.
She is no stranger to "straight" roles--and they require just as much technical prowess to play in films as they do on stage even if the techniques differ. So there is no blinding light of revelation in watching her step lively through Shaw's paces. Rather, confirmation of what a thorough, all-round professional she is.
It's not just that as Candida she is a the centre of attention, courtesy of the character and her box-office name. She brings to the role a fresh, sparky, natural good sense which more than any other element in Val May's production, lifts and lights up what is, at basics, a slight, fairly arid play.
Indeed, she rises airily above it by very dint of appearing not to be "acting" amid colleagues, especially in the lower ranks, who are, most strenuosly. (excerpt)
Surrey Advertiser
October 18, 1983
A gentle and serious 'Candida'
GEORGE Bernard Shaw's Candida was a sensible choice of play for Petula Clark's first straight role in the theatre. . .Petula Clark's Candida is sweet, sincere and --safe--surrounded by a flock of the tried and tested and the refreshingly inspirational. . .The play prompted genuine emotion and pricked he hearts of everyone who recalls the frustrations of adolescence, the silent prayers repeated at the foot of the bed.
West Sussex Gazette
November 10, 1983 Petula Clark makes the step from singing to straight acting look easy as she takes the title role in "Candida. To be sure, it is not the most demanding of roles, but she handles it with firmness, total accuracy and feeling.
The Stage
PETULA CLARK is a charming Candida, playing the role in a smiling and relaxed manner in Val May's delightful production of Bernard Shaw's trifle about the clergyman's wife with a soft spot forr a young earthy poet. Her silent acting is quite as expressive as her lines, which are delivered in an interesting way with plenty of personality. Petula Clark is authoritative too in the last act as she analyses them both.
SOUND OF MUSIC
- August 18, 1981- September 18, 1982, Apollo Victoria Theatre, West End, London
Revival
Among the audience on opening night, August 18, 1981, sat [the real] Baroness Maria Von Trapp. After the performance she told Ross Taylor, "If I never see The Sound Of Music again, this is the way I want to remember it -- and I want to remember Petula's performance as the greatest performance of Maria."
The Sound of Music boasts the record for the highest attendance figure for a single week (October 26-31, 1981) of any British musical production in history. The 2600-seat theatre played to 101 percent of seating capacity. [The Guinness Book of Theatre]
A stage soundtrack of this musical was released on vinyl and both a streaming version and a CD are now available on Amazon.
SOUND OF MUSIC
- August 18, 1981- September 18, 1982, Apollo Victoria Theatre, West End, London
Revival
Among the audience on opening night, August 18, 1981, sat [the real] Baroness Maria Von Trapp. After the performance she told Ross Taylor, "If I never see The Sound Of Music again, this is the way I want to remember it -- and I want to remember Petula's performance as the greatest performance of Maria."
The Sound of Music boasts the record for the highest attendance figure for a single week (October 26-31, 1981) of any British musical production in history. The 2600-seat theatre played to 101 percent of seating capacity. [The Guinness Book of Theatre]
A stage soundtrack of this musical was released on vinyl and both a streaming version and a CD are now available on Amazon.
The Sound of Music
August 18, 1981- September 18, 1982Apollo Theatre, West End, London
Publicity photos shot in Austria
The 1981 West End Revival of Rodgers & Hammerstein's "The Sound of Music" which played at London's Apollo Victoria (directly opposite Victoria Station) was a tremendous success both personally and financially for all concerned. It launched Petula's career as a musical theater star and both the production and Petula received rave reviews.
When the show was first announced, there was some initial skepticism about whether the forty-ish Petula could play the twentyish novice. However, when the show opened, more than a few critics were forced to eat their words.
THE CAST:
The Mother Abess..........JUNE BRONHILLMaria Rainer..........PETULA CLARK
Captain von Trapp..........MICHAEL JAYSTON
Elsa Schraeder..........HONOR BLACKMAN
Max Detweiler..........JOHN BENNETT
Liesel von Trapp..........CLAIRE PARKER
Review Excerpts
"Petula Clark, an artist who has suffered under the spectre of ageism ever since she was announced for the role of Maria, overcomes it in a way that should make her critics feel ashamed of themselves and gives a spoken and sung performance that is the very essence of youthful high spirits laden with indecision, bringing her own individuality to the songs."Peter Hepple of The Stage
Petula Clark, as the novice who wins the heart of the stern naval captian has a tomboyish charm which would appeal to a disciplinarian like von Trapp. . .She manages also to stand up to the fierce competition of kids whose every cuddly grimace is a heart-stealer.
Milton Shulman of The Standard
The experienced singer-actress has an elfin quality, a sense of mischief and bounce enough to make an effective central character. Her long moments on stage marshalling the moppets are her finest.
Variety
Petula makes her own distinctive contribution to the role, clowning it a bit at first as a tomboy in buttoned boots and a walk like a single minded-hen, but blossing as soon as she is joined by the children. The children are enchanting--but Miss Clark, despising the old dictum about never appearing on stage with animals or small children, is not obiterated by them.. .Petula Clark is a star with a star's confidence, but her unselfconscious modesty never slips. And she manages to radiate happiness--a rare accomplishment on the stage nowadays.
Daily Express
Petula Clark climbed every mountain last night to rise above the memory of Julie Andrews and make "The Sound of Music" her own. At times it was like scaling the Jungfrau, but she planted her flag on top with such a defiant flourish that the audience rose to salute her. At fortysomething she may not have the freshness of a novice nun, but this bouncy, lovable Maria was as gutsy as the real-life von Trapp.
June Southworth of the Daily Mail
The sound of a sure-fire success
SENTIMENTALITY triumped at the Apollo Victoria with the long-awaited first night of The Sound of Music. By the end almost everyone was in floods of happy tears.
Petula Clark cried as she took her tumultuous ovations. Baroness Maria von Trapp cried as she wateched the story of her life recreated yet again on the stage. And producer Ross Taylor can look foward to crying all the way to the bank for many, many months to come.
The Sound of Music has always been damned by critics for its sugary sentimentality and applauded to the echo by audiences who just cannot get enough of it.
Show stealers
But this time even the critics--or most of them--appear to have been won over by the show's glossy production values and unashamed display of naked sentiment.
Some of the quality papers are patronisingly snooty about the whole enterprise but the popular papers unanimously declare that the schmaltzy Rodgers and Hammerstein classic has lost none of its magic.
At the end of the show Baroness Maria von Trapp took to the stage with the rest of the cast and whole audience, dabbing tears from their eyes, joined in with Edelweiss.
Earlier they had risen to their feet to applaud Petula Clark's spirited performance as Maria--her first-ever starring role in a musical--and greeted the real stealers of the show, the seven von Trapp children with cheers that were almost dangerously deafening.
But it was clear from the start that the production could do no wrong. Every familiar nuimber was greeted with rapturous applause.
After it was all over, Petula Clark sat in her dressing room surounded by her family, mountains of flowers and good luck telegrams and happily declaired: "It's been much, much more that I ever hoped it would be."
The Baroness had told Miss Clark to play her younger self as a tomboy and Miss Clark did just that, much to the Baroness's approval.
"It was the best Sound of Music I have ever seen. The people in the show lived up to how they were in real life. I was in tears at the end. It brings it all back to me. It doesn't matter if I never see it again. This is how I want to see The Sound of Music."
Charles Spencer of The Standard
HUMPTY-DUMPTY
- Pantomime 1959-60 Season, Gaumont Theatre, Southampton, England
British Pantomime stage show based on the fairy tale and performed during the Christmas/New Year Holiday. Petula starred as Princess Marigold and wore elaborate princess costumes. The production featured a great deal of slap-stick, music, and comedy. This was Petula's only appearance of this kind.
HUMPTY-DUMPTY
- Pantomime 1959-60 Season, Gaumont Theatre, Southampton, England
British Pantomime stage show based on the fairy tale and performed during the Christmas/New Year Holiday. Petula starred as Princess Marigold and wore elaborate princess costumes. The production featured a great deal of slap-stick, music, and comedy. This was Petula's only appearance of this kind.
PETULA CLARK RETURNS TO THE STAGEAfter a long and serious illness, Petula Clark, the young British singer and actress, is returning to work. She has started rehearsing for her part of Teresa in a revival of "The Constant Nymph" at the 'Q' Theatre. Petula will be co-starring with film star John Gregson. Petula and John found the theatre so cold that they wore heavy coats and scarves to go over their lines during rehearsals.
2/2/54
The Constant Nymph
Q Theatre, Kew Bridge, EnglandFebruary 16 - February 22, 1954
CAST:
Tessa...............Petula Clark
Lewis Dodd..........John Gregson
Florence............Elizabeth Kentish
Roberto.............David Ritch
First rehearsal was held yesterday at the Duchess Theatre, of a revival of "The Constant Nymph." Petula Clark, who has recovered from her recent illness, is to play Teresa.2/2/54
REVIEW:
After thirty years, the appeal of Margaret Kennedy's Nymph dramatised with help from Basil Dean, showed itself as constant as her nature. There was a completely full house for this revival on 16th February and it was well booked for its run of one week.
Making her first reappearance on the stage after an illness, Petula Clark made an appealing Tessa and established the reality of the character with natural sincerity. Tessa's lines, however, often move to a childish elevation of phrase, quaintly sententious, and on these occasions the ascent was not made, the telling isolation not attempted. John Gregson gave life to Lewis Dodd, whilst not presenting the physique nor suggesting the temperament of the musician. This Lewis would shift the entire piano rather than play on the keys. Florence's point of view was so well established by the fine playing of Elizabeth Kentish that the story seemed more like life than one's memory of the original production. David Ritch achieved an appearance of spontaneity and genuine feeling in the part of Roberto. The numerous "company" although not always ideally cast, achieved an excellent general result under the direction of Judith Furse, in four very good sets by Elizabeth Taplay.
H.G.M. - Theatre World, April 1954
After thirty years, the appeal of Margaret Kennedy's Nymph dramatised with help from Basil Dean, showed itself as constant as her nature. There was a completely full house for this revival on 16th February and it was well booked for its run of one week.
Making her first reappearance on the stage after an illness, Petula Clark made an appealing Tessa and established the reality of the character with natural sincerity. Tessa's lines, however, often move to a childish elevation of phrase, quaintly sententious, and on these occasions the ascent was not made, the telling isolation not attempted. John Gregson gave life to Lewis Dodd, whilst not presenting the physique nor suggesting the temperament of the musician. This Lewis would shift the entire piano rather than play on the keys. Florence's point of view was so well established by the fine playing of Elizabeth Kentish that the story seemed more like life than one's memory of the original production. David Ritch achieved an appearance of spontaneity and genuine feeling in the part of Roberto. The numerous "company" although not always ideally cast, achieved an excellent general result under the direction of Judith Furse, in four very good sets by Elizabeth Taplay.
H.G.M. - Theatre World, April 1954
Advertisement and review courtesy of Steven Warner and Tim Hutton
A play in three acts. Petula played the role of Jackie Rendell.
WEST LONDON OBSERVER Review
"Petula Clark, the young film actress, scored something of a personal triumph when she made her stage debut at the "Q" Theatre on Tuesday night. Her playing of a teenage youngster was delightful to watch: vivacious, charming, and nicely judged in tone and emphasis. The piece, Sauce for the Goose, a play by Mary McLellan, is, most appropriately a General Election romp in which Labour invides a Troy stronghold and the Squire's daughter falls in love with the invading candidate. It is all good fun, with no damange to anyone's political usceptibilities--the result in this constituency is never declared! Miss Clark may be the centre of greatest interest, but there are other character studies well-worth watching, notably those of Jane Hylton, Noel Howlett and Robert Brown."
WEST LONDON OBSERVER Review
"Petula Clark, the young film actress, scored something of a personal triumph when she made her stage debut at the "Q" Theatre on Tuesday night. Her playing of a teenage youngster was delightful to watch: vivacious, charming, and nicely judged in tone and emphasis. The piece, Sauce for the Goose, a play by Mary McLellan, is, most appropriately a General Election romp in which Labour invides a Troy stronghold and the Squire's daughter falls in love with the invading candidate. It is all good fun, with no damange to anyone's political usceptibilities--the result in this constituency is never declared! Miss Clark may be the centre of greatest interest, but there are other character studies well-worth watching, notably those of Jane Hylton, Noel Howlett and Robert Brown."
Source: THE PETULA CLARK STORY
Advertisement and information courtesy of Steven Warner and Tim Hutton
In June 1947, Petula Clark made her stage acting debut playing the role of Kathleen Kenton in the Overture Repertory Player's production of Dodie Smith's "family play" Dear Octopus. The production also starred Neil Ballantyne, Edward Waddy, Joyce Latham, Jane Shirley, Robin Bailey, and Tony Alexander.
Directed by Michael Finlayson.