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by Stage: Petula's Theatrical Journey
In June 1947, at just 14 years old, Petula made her stage acting debut at the Connaught Theatre in Worthing, stepping into the role of Kathleen Kenton
(Scrap) in the Overture Repertory Players' production of Dear
Octopus. Written by acclaimed playwright Dodie Smith, this "family play" delicately explores the emotional complexities of a multi-generational reunion, weaving together themes of memory, identity, and reconciliation.
Petula was part of a talented ensemble cast that included Neil Ballantyne, Edward Waddy, Joyce Latham, Jane Shirley, Robin Bailey, and Tony Alexander. The production was directed by Michael Finlayson, whose vision helped guide a young Petula through her first steps on the theatrical stage.
Inner pages of the
production programme
This debut marked a pivotal moment in
Petula's early career, revealing her dramatic potential and setting the stage, quite literally, for a lifetime of artistic achievement across theatre, film, and music.
Following her stage debut in Dear Octopus in 1947, Petula returned to the boards three years later in Mary
McLellan's lively political comedy Sauce for the Goose, staged at the Q Theatre, Kew, from
21 - 26 February 1950. At just 17 years old, Petula took on the role of Jackie Rendell, a spirited teenage character caught in the whirlwind of a fictional General Election.
Cover and inner page of the
production programme
The play, structured in three acts, offered a satirical yet
light-hearted take on political campaigning, with Labour invading a traditionally Tory stronghold and the
Squire's daughter falling for the opposing candidate. The West London Observer praised the production as
"all good fun, with no damage to anyone's political
susceptibilities - the result in this constituency is never
declared!"
Petula's performance was met with glowing acclaim. The Observer noted that she
"scored something of a personal triumph" and described her portrayal as
"vivacious, charming, and nicely judged in tone and
emphasis." The Telegraph described Petula's
performance as "familiar but charming," likening her
presence on stage to "this year's daffodil" - bright
and welcome! It was a clear affirmation of her growing
versatility, not just a film, television and radio star, but a confident and compelling stage
actress too.
While Petula was undoubtedly the centre of attention, the review also highlighted strong performances from her fellow cast members, including Jane Hylton, Noel Howlett, and Robert Brown, whose character studies were
"well-worth watching."
This production marked another important step in Petula's theatrical journey, showcasing her ability to hold her own in ensemble casts and to bring youthful energy and
refinement to the stage.
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Production flyer
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With John Gregson,
Patricia Owens and Elizabeth Kentish at rehearsals
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After a four-year absence from the stage, Petula made a poignant return in February 1954, stepping into the role of
Teresa Sanger in a revival of
The Constant Nymph at the Q Theatre, Kew, followed by a week-long run at the Theatre Royal, Brighton. The production marked a significant moment in
Petula's career, not only as a return to acting after a serious illness, but also as a demonstration of her emotional depth and dramatic maturity.
Rehearsals were reportedly chilly, literally. Petula and co-star John Gregson braved the cold theatre in heavy coats and scarves as they ran lines, a detail that underscored their dedication to the
production. The play, adapted by Basil Dean from Margaret
Kennedy's beloved novel, had not lost its charm over the decades. As Theatre World noted,
"After thirty years, the appeal of Margaret Kennedy's Nymph
... showed itself as constant as her nature."
Cover and inner page of the
production programme
Petula's portrayal of
Teresa Sanger was met with admiration. The review praised her for establishing
"the reality of the character with natural sincerity," a testament to her ability to embody youthful vulnerability and emotional nuance. While the critic noted that some of
Teresa's more "quaintly sententious" lines didn't fully land,
Petula's overall performance was described as
"appealing," marking a successful and heartfelt return to the stage.
John Gregson, though later replaced by Terence Alexander for the Brighton run, brought energy to the role of Lewis Dodd, albeit with a physicality that seemed more suited to moving pianos than playing them. Elizabeth Kentish as Florence was singled out for her compelling performance, which
"established the story more like life than one's memory of the original
production." David Ritch also earned praise for his
"spontaneity and genuine feeling" as Roberto.
Under the direction of Judith Furse, and with evocative set designs by Elizabeth Taplay, the ensemble delivered a revival that resonated with
audiences, playing to a full house on opening night and enjoying strong bookings throughout its run.
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Reverse of Brighton flyer
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Programme cover
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Inner pages of the Brighton
programme
This production not only reaffirmed
Petula's place in British theatre but also hinted at the resilience and artistry that would continue to define her career across stage, screen, and song.
In the winter of 1959, Petula made her pantomime debut in Bernard
Delfont's lavish production of Humpty Dumpty at the Gaumont Theatre,
Southampton (now The Mayflower), a grand 2,300-seat venue known for hosting large-scale entertainment. The
six-week Christmas season was a glittering affair, produced by Maurice Fournier, with musical direction by Al Freid, and featured a
star-studded cast that included Edmund Hockridge, Tommy Cooper, Derek Roy, and Betty Jumel, alongside a full supporting company.
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Flyer (front)
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Flyer (reverse)
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Petula took on the role of Princess Marigold, stepping into a world of fantasy and spectacle with grace and charm. According to The Stage, the production was
"given an enthusiastic send-off at the Gaumont on Christmas
Eve," and Petula's entrance was described as "a winsome entry into the world of
fantasy," as she teamed with Edmund Hockridge, who
"strides the stage and fills the auditorium with delightful
melodies".
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Programme
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On stage with Edmund Hockridge
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This marked a new chapter in Petula's stage career, her first foray into the uniquely British tradition of pantomime. Dressed in elaborate princess costumes and surrounded by slapstick, music, and magic, she brought warmth and sincerity to a genre known for its exuberance. The production was not only a commercial success but also a testament to
Petula's versatility as a performer, seamlessly transitioning from dramatic roles and now into festive family entertainment.
Timeline
Spotlight: Petula's Early Stage Years (1947 - 1960)
Before rising to international fame as a recording artist,
Petula was already a familiar face across film, radio,
recordings and television and by 1960 she really was everybody's
Pet. Alongside these successes, she was steadily building
her theatrical credentials on British stages. From dramatic
debuts to pantomime sparkle, her early performances showcased a
versatile and determined artist expanding her creative reach in
front of live audiences. Presented here is a snapshot of
Petula's formative theatrical journey, charting her progression
from post-war performances to becoming a familiar presence on
British stages. This period laid the foundation for her later
triumphs in musical theatre and showcased her versatility across
drama, comedy, and pantomime.
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1947 - Stage Debut in Dear Octopus
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Venue: Connaught Theatre, Worthing Dates: 10 - 14 June 1947
Role: Kathleen Kenton (Scrap) Company: Overture Repertory Players
Director: Michael Finlayson.
At just 14 years old, Petula made her stage acting debut in Dodie
Smith's Dear Octopus, a poignant family drama exploring generational tensions and affections. Sharing the stage with Neil Ballantyne, Edward Waddy, Joyce Latham, Jane Shirley, Robin Bailey, and Tony Alexander,
Petula's performance marked the beginning of a lifelong relationship with the theatre.
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| 1950
- A Personal Triumph in Sauce for the Goose
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Venue: Q Theatre, Kew Bridge, London Dates: 21–26 February 1950
Role: Jackie Rendell Playwright: Mary McLellan.
Petula returned to the stage in Sauce for the Goose, a spirited political comedy set during a fictional General Election. The West London Observer hailed her performance as
"vivacious, charming, and nicely judged in tone and
emphasis," calling it "something of a personal
triumph." The play's satirical tone and ensemble cast,
including Jane Hylton, Noel Howlett, and Robert Brown, offered Petula a chance to shine in a more comedic setting.
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| 1954
- A Poignant Return in The Constant Nymph
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Venues: Q Theatre, Kew Bridge: 16 - 21 February 1954 and Theatre Royal, Brighton:
22 - 28 February 1954 Role: Teresa Sanger Playwright: Margaret Kennedy (adapted by Basil Dean)
Director: Judith Furse Co-stars: John Gregson (later replaced by Terence
Alexander in Brighton), Elizabeth Kentish, David Ritch.
After recovering from a serious illness, Petula made a heartfelt return to the stage in
The Constant Nymph. Rehearsals were famously
chilly, Petula and co-star John Gregson wore coats and scarves to run lines in the unheated theatre. Her portrayal of
Teresa was praised by Theatre World for its "natural
sincerity," and the production played to full houses. Though some of the
character's more elevated lines proved challenging, Petula's performance was described as
"appealing," reaffirming her dramatic capabilities.
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1959 - 1960 - Sparkling Pantomime Debut in Humpty Dumpty
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Venue: Gaumont Theatre, Southampton (now Mayflower) Dates: Christmas
Season (for six weeks starting December 24 1959) Role: Princess Marigold
Producer: Maurice Fournier Musical Director: Al Freid
Co-stars: Edmund Hockridge, Tommy Cooper, Derek Roy, Betty Jumel.
Petula's first and only pantomime appearance came in Bernard
Delfont's spectacular production of Humpty Dumpty. Staged at the 2,300-seat Gaumont Theatre, the show was a festive extravaganza of slapstick, music, and magic. The Stage reported that the production was
"given an enthusiastic send-off on Christmas Eve," and praised
Petula's "winsome entry into the world of fantasy" alongside Edmund
Hockridge's commanding musical presence.
This pantomime debut showcased Petula's ability to adapt to the joyful chaos of British holiday theatre, adding another dimension to her growing stage resume.
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Petula's West End Triumph: The Sound of Music
(1981 - 1982)
After a 21-year absence from the London stage, Petula made a dazzling return in 1981, marking her musical theatre debut in the West End. Theatre impresario Ross Taylor announced her casting in a £750,000 revival of
The Sound of Music, a production that would go on to become a landmark in British theatre history.
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Flyer (front)
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Flyer (reverse)
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The musical, with music by Richard Rodgers, lyrics by Oscar Hammerstein II, and a book by Howard Lindsay and Russel Crouse, is based on Maria von Trapp's memoir The Story of the Trapp Family Singers. Set in Austria just before the Nazi annexation, it tells the story of Maria, a postulant who becomes governess to the seven children of Captain von Trapp. As she grows close to the family, she and the Captain fall in love and ultimately flee Austria to escape Nazi rule.
Petula led the cast as Maria Rainer, joined by a distinguished ensemble of
stage talent:
Michael Jayston as Captain von Trapp
Honor Blackman as Elsa Schraeder
John Bennett as Max Detweiler
June Bronhill as The Mother Abbess
Claire Parker as Liesl
Petula initially had reservations about the role, having never seen the stage version or the film. However, after watching the film, she found herself captivated by its charm. She agreed to take on the role of Maria, but only if she could bring a fresh and personal interpretation to the
character, one that differed from the iconic portrayal by Julie Andrews.
Rehearsals began in June 1981, following a promotional campaign that included a cast trip to Salzburg. The buzz surrounding the production was immense: an open audition for the Von Trapp children drew over 10,000 hopefuls, causing traffic chaos and making headlines as the largest crowd scene in British theatre history.
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Apollo Victoria
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The show opened at the Apollo Victoria Theatre on 17 August 1981 to overwhelming acclaim. Petula received six curtain calls on opening night, and the audience gave a standing ovation that lasted 15 minutes. With £1 million in advance ticket sales, the production quickly recouped its costs and played to sold-out houses for 13 months.
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A cast album was recorded at Abbey Road Studios just before opening night, marking the first digitally recorded cast album. It featured a 30-piece orchestra under the direction of Cyril Ornadel and was released by EPIC Records. Petula also recorded a single version of
"Edelweiss," arranged by her then musical director Kenny Clayton.
Opening
date: 17 August 1981
Closing date: 18 September 1981
Total number of performances: 451
Candida
(1983): A Confident Step into Shaw
In the autumn of 1983,
Petula
took on the title role in George Bernard Shaw's Candida, returning to the stage in a straight dramatic role after her acclaimed musical success in The Sound of Music. The production, directed by Val May, featured a strong ensemble cast including Michael Craig, Jonathon Morris, Vickery Turner, and Arthur English.
The Yvonne Arnaud Theatre
winter season diary
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Inside programme
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Ticket stub
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Critics across Surrey and beyond praised Petula's performance for its poise, natural charm, and understated authority. The Sutton County Herald noted that she
"fills [the role] impressively, oozing confidence and capability," describing her casting as
"remarkably well chosen" for the part.
The Woking & Byfleet Herald echoed this sentiment, calling her portrayal
"sparkling" and reminding audiences that she is "an actress of considerable experience and enviable talent".
Production photo |
Production photo |
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Production photo
with Jonathon Morris
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In a more reflective tone, the Midweek Comet emphasized that Petula's performance was not a revelation, but rather a confirmation of her professionalism:
"She brings to the role a fresh, sparky, natural good sense which… lifts and lights up what is, at basics, a slight, fairly arid play".
The Surrey Advertiser described her Candida as "sweet, sincere and safe," surrounded by a cast that balanced the
tried-and-true with the refreshingly inspirational. Meanwhile, the West Sussex Gazette commended her for making
"the step from singing to straight acting look easy," noting that she handled the role
"with firmness, total accuracy and feeling".
Finally, The Stage highlighted her expressive subtlety, stating:
"Her silent acting is quite as expressive as her lines… Petula Clark is authoritative too in the last act as she analyses them both".
Though Candida may not have been the most demanding role in Shaw's canon, Petula's performance was a
master class in restraint, nuance, and theatrical presence,
further proof of her remarkable versatility and enduring stagecraft.
Opening
date: 26 October 1983
Closing date: 19 November 1983
Total number of performances: 29
Someone Like You: Petula's Passion Project
(1989 - 1990)
Following her acclaimed West End debut in The Sound of Music, Petula embarked on a deeply personal and ambitious venture: to write and star in an original musical. The result was
Someone Like You, a Civil War-era love story with music by Petula and lyrics by Dee Shipman. Inspired by a visit to West Virginia, the show explored themes of loss, resilience, and transformation through the eyes of an Englishwoman searching for her husband in post-war America.
Inner page of the show
programme from Cambridge
Originally developed under working titles such as Amen! and Glory!, the musical evolved over several years. Petula collaborated with lyricist Dee Shipman and co-creator Ferdie Pacheco, crafting a score that blended gospel, ballad, and theatrical storytelling. Early demos featured performances by Paul Jones, Steve Barton, and Marjorie Barnes, among others.
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With Dave Willetts
and Clive Carter - All Through The Years
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Director Robin Midgley and author Fay Weldon later joined the creative team, reshaping the narrative for a UK tour launched by the
prestigious Cambridge Theatre Company in 1989. The cast included Dave Willetts and Clive Carter,
both acclaimed alumni of Les Miserables, whose powerful performances added dramatic weight to the production.
The tour drew packed houses and enthusiastic crowds in
Cambridge, Poole, Brighton, Hull, and York.
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UK tour flyer 1989
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London flyer 1990
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Exterior of The Strand
Theatre - photo by Neil & Robert Faust
In March 1990, Someone Like You transferred to the Strand Theatre in London (now the Novello Theatre). Despite mixed reviews,
Petula's performance and musical contributions were widely praised. However, the production was cut short when producer Harold Fielding's company went into liquidation, forcing an abrupt closure after just 44 performances.
Though the West End run was brief, the show remains a highlight of Petula’s theatrical career,
a testament to her creative courage and commitment to original storytelling. Several songs from the musical were later recorded, including “So Easy” and “All Through the Years,” which appeared on her studio albums in the late 1990s and early 2000s. Plans for a full cast recording were never
fully realised, though four tracks survive as rare studio gems and are available as a digital
EP on the First Night imprint distrubuted by Warner Music. The
four tracks are Someone Like You (Petula and Dave Willetts),
Getting The Right Thing Wrong (Petula), Home Is Where The Heart
Is (Petula) and I Am What You Need (Clive Carter). There are
dozens of working demos that were produced between 1985 and 1989
during the development of the production.
Someone Like You may have ended prematurely, but its legacy endures as a bold and heartfelt chapter in Petula's remarkable journey through musical theatre.
UK Tour:
Opening date: 25 October 1989
Closing date: 9 December 1989
Total number of performances: 53
London:
Opening date: 22 March 1990
Closing date: 26 April 1990
Total number of performances: 44
Petula:
Blood Brothers - The Miracle of Broadway and the U.S Tour (1993 -
1995)
In August 1993, Petula made her Broadway debut in Blood
Brothers, stepping into the role of Mrs. Johnstone at the Music Box Theatre. Already a global music icon, Petula's transition to the
Broadway stage marked a defining moment, not just for her career, but for the production itself.
Blood Brothers, Willy
Russell's emotionally charged musical about twin brothers separated at birth, had opened earlier that year to tepid reviews. But when Petula joined forces with David and Shaun Cassidy, the show underwent a dramatic turnaround. The trio, hailed by critics as pop culture heavyweights, brought renewed energy and authenticity to the roles, transforming what had been seen as a risky casting choice into a theatrical triumph.
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With David Cassidy in
London for the press call announcement of their Broadway
casting
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On stage: Bright new
day ...
We're moving away
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Petula's portrayal of Mrs. Johnstone, a working-class mother grappling with loss, love, and sacrifice, was met with widespread acclaim. Her performances were deeply emotional, often leaving audiences
visibly moved. She later shared that the role had challenged her in unexpected ways, requiring her to tap into emotional depths she
hadn't explored before. Initially hesitant to take on the part, she found herself drawn to the music and the
character's resilience, ultimately embracing the role with conviction.
Producer Bill Kenwright praised Petula's instinctive musicality, noting her unique phrasing and interpretive style that added a fresh dimension to
Russell's score. Even the composer himself was reportedly moved by her performance, especially during the
show's climactic moments.
By November 1993, Blood Brothers had broken box office records at the Music Box Theatre. The production, once on shaky ground, became known as
"the miracle of Broadway," with Petula at its heart.
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The London Evening Standard
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Crowds outside the Music Box Theatre
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Following her Broadway run, Petula joined David Cassidy for an extensive U.S. tour, performing in 23 cities across 16
states beginning in September 1994. Her vocals were later featured on the 1995 international cast recording, which included the Royal Philharmonic Orchestra and was released in both the U.S. and UK.
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The international cast recording
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US tour flyer
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In addition to the cast album, Petula recorded a solo version of Tell Me
It's Not True in 1994, arranged by the show's musical director. This rendition, distinct from the ensemble recording, was later included in her retrospective and chart-topping collections.
Petula's journey through Blood Brothers was more than a theatrical success, it was a testament to her versatility, emotional depth, and enduring artistry. Her musical story, already spanning decades, found a powerful new chapter on the Broadway stage.
Petula's opening night (Broadway): 16 August 1993
Petula's closing night (Broadway): 5 June 1994
Total number of performances (Broadway): 338
Total number of performances (US Tour): 272
Petula's Triumphant Return to the West End: Sunset Boulevard
(1995)
In September 1995, Petula made a dazzling return to the West End, stepping into the role of Norma Desmond in Andrew Lloyd
Webber's Sunset Boulevard at the Adelphi Theatre. The musical, based on Billy
Wilder's 1950 film, tells the haunting story of a forgotten silent film star whose encounter with a young screenwriter reignites her dreams of
stardom, setting the stage for a tale of ambition, romance, and tragedy.
Initially reluctant to take on the role, Petula was persuaded by director Trevor Nunn, who saw in her the emotional depth and musical nuance needed to bring Norma to life. Though she had expressed doubts about portraying such a complex and emotionally demanding character, especially following her acclaimed run in Blood Brothers, Petula ultimately embraced the challenge.
Her six-week engagement, filling in for Elaine Paige, opened on 4 September and was met with overwhelming enthusiasm. Audiences responded with standing ovations, and critics praised her performance, noting the vulnerability and theatrical gravitas she brought to the role. Her rendition of
"As If We Never Said Goodbye" became a defining moment of her return to the London stage.
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Exterior of The Adelphi
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Programme insert
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Photo courtesy of Matt
Roystone
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Photo courtesy of Matt
Roystone
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A candid exchange,
Petula speaks to fans from her window at the Adelphi
Photo courtesy Matt Roystone
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Following the success of her initial run, Petula was invited to take over the role permanently in January 1996. Her portrayal earned widespread acclaim, and she remained with the production
in London for fifteen months. The show's producers later announced its closure in April 1997, choosing to end its run with Petula still in the lead, a decision that underscored her impact on the production.
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US Tour Flyer
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BBC Radio Concert
Recording
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In 1998, Petula embarked on an 18-month U.S. tour of Sunset Boulevard, further cementing her association with the role. She reprised Norma Desmond once more in 2004 for two concert performances at the Royal Opera House in Cork, sharing the stage with Michael Ball, who made his debut as Joe Gillis. The concerts, featuring the BBC Concert Orchestra,
staged on 23 and 24 April 2004 were later broadcast on BBC Radio 2
on 2 May 2004.
Petula's 3 track EP
To commemorate her time in the show, Petula recorded a three-track EP featuring
"With One Look," "The Perfect Year," and
"As If We Never Said Goodbye." The recordings, made with the BBC Concert Orchestra at Golders Green Hippodrome, were released in April 1996 by Really Useful
Records / Polydor.
Petula's journey with Sunset Boulevard was more than a return, it was yet another reinvention. Her portrayal of Norma Desmond added a new chapter to her storied career, blending theatrical elegance with emotional authenticity, and reaffirming her place as one of
Britain's most enduring and versatile performers.
When you combine Petula's performances as Norma Desmond in both the London production and the U.S. tour of Sunset Boulevard, she holds the distinction of being the longest-serving Norma Desmond to date, a testament to her commanding presence and enduring appeal in the role.
Here's a
fun tidbit: When the London production closed, Petula kept two
memorable items from her Norma Desmond wardrobe as personal
mementos, a pair of glasses and a set of Norma's false eyelashes,
preserving a touch of theatrical glamour from her time in Sunset
Boulevard.
In 2013, at the age of 80, Petula returned to the West End stage for the Olivier Awards and performed
"With One Look" from Sunset Boulevard.
Petula's opening night
(London): 4 September 1995 & 9 January 1996
Petula's closing night (London): 5 April 1997
Total number of performances (London): 503
Total number of performances (US Tour): 490
Full Circle: Petula's Triumphant Return to the West End in Mary Poppins
In 2019, at the age of 86, Petula made a poignant return to the West End, taking on the role of the Bird Woman in the revival of
Mary Poppins at the Prince Edward Theatre, the very stage where her career began as a child performer in 1942. Remarkably, she continued performing in the role nightly until the age of 90.
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Exterior: Prince
Edward Theatre
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Exterior: Prince
Edward Theatre
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Each night, Petula delivered the cherished ballad "Feed the Birds" with quiet dignity and emotional resonance. Whenever Petula stepped onto the stage to sing "Feed the Birds," the lighting bathed her in a gentle glow that gave her an almost ethereal presence, and without fail, the audience would break into spontaneous applause, acknowledging her legacy with heartfelt
mid-show ovations. In recognition of her musical legacy, the producers expanded the role to include her in the ensemble number "Anything Can Happen," allowing audiences to witness her enduring stage presence in a new light.
Production flyer
Critics celebrated her return:
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The Guardian noted: "It is also a bonus to have the ageless Petula Clark appearing as an itinerant Bird Woman."
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The Evening Standard praised "a haunting cameo from
86-year-old Petula Clark as the Bird Woman."
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The Telegraph wrote:
"There's Petula Clark, first lady of Brit-pop, in the role of the ragged
Bird-Woman, crooning 'Feed the Birds'. Beaming beatifically, she
doesn't raise the roof but stirs the heart, which young or old, should find in this enchanted evening just the right mix of psychological succour and showbiz chutzpah."
Petula as the Bird Woman -
photo by Johan Persson
Feed The Birds - photo by
Johan Persson
After more than two decades away from the West End stage, her return was more than a casting decision, it was a poetic homecoming. From wartime performances to international acclaim, Petula's journey had come full circle, reminding audiences of the timeless grace and spirit that have defined her remarkable career.
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Cast recording
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Cast list
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This chapter was immortalised in 'The Definitive Supercalifragilistic 2020 Cast Recording,' captured live at the Prince Edward Theatre and released to wide acclaim.
Opening date:
23 October 2019
Closing date: 8 January 2023
The Roles That Got Away:
Petula's Unseen Stage Career
We've taken a deep dive into the archives to explore some fascinating
"what might have been" moments from Petula's theatrical journey. Over the years, newspapers and press reports have linked her to a number of stage roles, some even contracted, that ultimately never came to be. These unrealised projects offer a glimpse into the breadth of opportunities that surrounded
Petula's career and the intriguing paths she might have taken.
Here's a quick rundown of some of the stage roles Petula was connected to but never performed:
April 1951: Petula was contracted to star in Gwith Loves Oswig, a play by Kenneth Horne, scheduled for The Embassy Theatre, Swiss Cottage, London.
1958: Press reports suggested she would play Jane Wilton in the British comedy Jane Steps Out at the Grand Theatre, Southampton.
1978: Petula's name surfaced as a potential lead for the London production of Evita.
Other London stage roles she was linked to include: The Witch in Into the Woods (1990), Sally in Follies (2002), and Grandma in Billy Elliot (2011).
In the U.S., Petula was mentioned in connection with productions such as Peter Pan (1980) and Gypsy (1989), where she was considered for the iconic role of Mama Rose.
While these roles never made it to the stage with Petula in the spotlight, they serve as a testament to her versatility and enduring appeal. Each mention reflects the
industry's recognition of her talent and the many directions her career could have taken.
It's a reminder that even the roles not played can add richness to an already remarkable legacy.
Encore: The
Stage & Screen Musical Legacy of Petula
From Broadway and West End ballads to cinematic showstoppers,
Petula has recorded over 150 songs drawn from the world's most
beloved musicals and films. Her interpretations span generations
of composers, from the timeless elegance of Rodgers and
Hammerstein, Irving Berlin, and George Gershwin, to the modern
theatrical brilliance of Stephen Sondheim, Andrew Lloyd Webber,
and Boublil and Schonberg.
The list below
celebrates Petula's extraordinary connection to musical
storytelling. It’s not just a catalogue of the recordings Petula
has issued, it's a journey through melody, emotion, and theatrical
history.
Imagine, even
just for a moment, this list as a box set: a collector's dream and
a tribute to one of the most versatile voices in popular music.
While assembling such a release would be a logistical feat, given
the rights complexities, it would stand as a definitive archive,
not merely a reissue of hits, but a curated anthology of Petula's
theatrical soul.
Our idea
and just for fun:
Encore: The Stage & Screen Musical Legacy of Petula. Deluxe 10
CD Theatre Box Set
Design: Styled like a miniature proscenium theatre with
fold-out stage wings
Contents: Each "act" (CD or vinyl) housed in a
velvet-lined sleeve with gold foil accents
Numbered editions with certificate of authenticity
Extras: Replica theatre programs, ticket stubs, and a
fold-out timeline of Petula's stage career
The idea of a
full box set is of course a glorious fantasy, one that plays out
beautifully in our minds until reality takes its final bow!
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Encore: A Curated Celebration of Petula's Stage & Screen Musical Legacy
In the spirit of celebration, we've created Encore, a specially curated MP3
play list featuring the 152 officially released tracks
showcasing Petula's extraordinary contributions to recordings from musical theatre and film. This isn't just a collection of recordings from her stage appearances; it also includes studio versions of songs Petula recorded from beloved musicals and films throughout her career. The full list of all 152 songs featured in Encore can be found below, offering a comprehensive look at her enduring legacy in stage and screen music.
Spanning more than seven decades, Encore highlights her versatility as both a performer and interpreter of musical storytelling. From her live renditions in Mary
Poppins, to her studio recordings of Sunset Boulevard, Blood Brothers, Someone Like You and The Sound of Music to her studio recordings of classics from Les
Miserables, My Fair Lady, and more, each track reflects her deep connection to the theatrical tradition.
Whether you're enjoying a quiet evening, embarking on a long journey, or simply immersing yourself in the magic of musical theatre, Encore offers the perfect soundtrack. It's a rich tapestry of officially released material, no bootlegs, no demos, just the authentic recordings that have helped to define
Petula's recording legacy.
And the best part? You can create your own play list too, drawing from the same catalogue of officially released musical gems. Let Petula's voice take centre stage and rediscover the timeless magic of her theatrical journey. |
For those on the go
moments, we have the full play list on our phone
Our MP3 CD which holds
all 152 recordings!
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Encore on the
Road: Your DIY MP3 CD Project
Looking for
a fun and rewarding way to enjoy Petula's musical theatre and film
legacy? We've got just the thing, and we’ve already made one to
show you how simple it can be!
Using the
full list of 152 officially released tracks featured below, we
created Encore, a dazzling MP3 playlist that celebrates Petula's
extraordinary contributions to stage and screen musicals. But we
didn’t stop there. We took it a step further and compiled all
152 songs onto a single MP3 CD. Yes, one disc!
While MP3
audio is slightly lower in quality than traditional CDs, it’s a
perfect format for long car journeys, quiet evenings, or any
moment when convenience and musical variety matter most. With
compressed audio, an MP3 CD can hold up to 250 tracks, making them
ideal for archiving large collections like Encore without
sacrificing portability.
And here's
the best part: you can do it too! Authoring your own MP3 CD is
surprisingly easy. Most modern CD players, including those in cars,
support MP3 playback, so you can enjoy Petula's timeless
performances wherever you go. All you need is a CD burner, a blank
disc, and your play list ready to go.
So why not
dive in? Use our list below as your guide, gather your favorite
tracks, and create your own Encore experience. It's a
celebration of Petula's musical magic, and a project that's as
enjoyable to make as it is to listen to.
Let the
music take centre stage, on one disc, in your hands, and on the
move.
Explore this
comprehensive listing of Petula's recordings from stage and
screen musicals, a definitive journey through her theatrical
recordings repertoire spanning more than seven decades:
Think we've missed a recording?
Drop us a line at info@petula-archives.co.uk - we'd love to hear from you!
| Track
Title |
Stage
/ Film Musical |
Year |
| With
A Song In My Heart |
Spring
Is Here |
1951 |
| Smile |
Modern
Times |
1954 |
| Some
Enchanted Evening |
South
Pacific |
1954 |
| A
Couple of Swells (with Billy Ternent) |
Easter
Parade |
1954 |
| Fascinating
Rhythm |
Lady
Be Good |
1954 |
| It's
Foolish But It's Fun |
That
Certain Age |
1957 |
| Sonny
Boy |
The
Jazz Singer |
1957 |
| Zing
Went The Strings Of My Heart |
Listen
Darling |
1957 |
| Alone |
A
Night At The Opera |
1957 |
| I,
Yi, Yi, Yi, Yi |
That
Night In Rio |
1957 |
| Goodnight
My Love |
Stowaway |
1957 |
| I
Wish I Knew |
Diamond
Horseshoe |
1957 |
| Slumming
On Park Avenue |
On
The Avenue |
1957 |
| As
Time Goes By |
Casablanca |
1957 |
| It's
The Natural Thing To Do |
Double
Or Nothing |
1957 |
| Afraid
To Dream |
You
Can't Have Everything |
1957 |
| You
Are My Lucky Star |
Broadway
Melody Of 1936 |
1957 |
| Ordinary
People (with George Formby) |
Zip
Goes A Million |
1957 |
| Long
Before I Knew You |
Bells
Are Ringing |
1957 |
Tout
Ce Que Veut Lola
(Whatever Lola Wants Lola Gets) |
Damn
Yankees |
1957 |
| I've
Grown Accustomed To His Face |
My
Fair Lady |
1958 |
| St.
Tropez |
La
Plume De Ma Tante |
1958 |
| Lullaby
Of Broadway |
Gold
Diggers Of 1935 |
1958 |
| Over
The Rainbow |
Wizard
Of Oz |
1958 |
| Darn
That Dream |
Swingin’
The Dream |
1959 |
| Mama's
Talking Soft |
Gypsy |
1959 |
| Where
Are You Now That I Need You |
Red
Hot And Blue |
1959 |
| I'm
In Love Again |
Up
With The Lark |
1959 |
| There's
A Small Hotel |
Billy
Rose's Jumbo, On Your Toes and Pal Joey |
1959 |
| Too
Darn Hot |
Kiss
Me Kate |
1959 |
| Smoke
Gets In Your Eyes |
Roberta |
1960 |
| I'll
Be Seeing You |
Right
The Way |
1960 |
| Isn't
This A Lovely Day |
Top
Hat |
1961 |
| My
Favourite Things |
The
Sound Of Music |
1961 |
| On The Atchison Topeka And The Santa Fe |
The
Harvey Girls |
1962 |
| Gotta
Have Me Go With You |
A
Star Is Born |
1962 |
| For
Every Man There's A Woman |
Cashbah |
1962 |
| The
Night Has A Thousand Eyes |
The
Night Has A Thousand Eyes |
1962 |
| I
Get Along Without You Very Well (Except Sometimes) |
The
Las Vegas Story |
1962 |
| All
Through The Day |
Centennial Summer |
1962 |
| Hello
Dolly |
Hello
Dolly |
1964 |
| You'd
Better Love Me |
High
Spirits |
1964 |
| A
Foggy Day |
A
Damsel In Distress |
1965 |
| I
(Who Have Nothing) |
Smokey
Joes Cafe - The Songs Of Leiber And Stoller |
1965 |
| Never
On A Sunday |
Never
On A Sunday |
1965 |
| Strangers
In The Night |
A
Man Could Get Killed |
1966 |
| Come
Rain Or Come Shine |
St
Louis Woman |
1966 |
| If
I Were A Bell |
Guys
And Dolls |
1966 |
| Put
On A Happy Face |
Bye
Bye Birdie |
1966 |
| Typically
English |
Stop
The World I Want To Get Off |
1966 |
| In
A Shanty In Old Shanty Town |
Lullaby
Of Broadway |
1966 |
| So
Nice To Come Home To |
Something
To Shout About |
1966 |
| This
Is My Song |
A
Countess From Hong Kong |
1967 |
| Imagine |
The
Bobo |
1967 |
| I
Will Wait For You |
The
Umbrellas Of Cherbourg |
1968 |
| At
The Crossroads |
Doctor
Doolittle |
1968 |
| Smile |
Modern
Times |
1968 |
| Ballad
Of A Sad Young Man |
The
Nervous Set |
1968 |
| Prelude |
Finian's
Rainbow |
1968 |
| How
Are Things In Glocca Morra? |
Finian's
Rainbow |
1968 |
| Look
To The Rainbow |
Finain's
Rainbow |
1968 |
| If
This Isn't Love |
Finian's
Rainbow |
1968 |
| Something
Sort Of Grandish |
Finian's
Rainbow |
1968 |
| The
Great Come-And-Get-It Day |
Finian's
Rainbow |
1968 |
| Old
Devil Moon |
Finian's
Rainbow |
1968 |
| When
The Idle Poor Become The Idle Rich |
Finian's
Rainbow |
1968 |
| How
Are Things In Glocca Morra? (Finale) |
Finian's
Rainbow |
1968 |
| My
Funny Valentine |
Babes
In Arms and Gentlemen Marry Brunettes |
1969 |
| The
Windmills Of Your Mind |
The
Thomas Crown Affair |
1969 |
| London
Is London |
Goodbye,
Mr. Chips |
1969 |
| And
The Sky Smiled |
Goodbye,
Mr. Chips |
1969 |
| Apollo |
Goodbye,
Mr. Chips |
1969 |
| Walk
Through The World |
Goodbye,
Mr. Chips |
1969 |
| What
Shall I Do With Today |
Goodbye,
Mr. Chips |
1969 |
| Schooldays |
Goodbye,
Mr. Chips |
1969 |
| You
And I |
Goodbye,
Mr. Chips |
1969 |
| Fill
The World With Love |
Goodbye,
Mr. Chips |
1969 |
| Aquarius - Easy To Be Hard - Let
The Sunshine In |
Hair |
1969 |
| Wouldn't It Be Loverly - I've Grown Accustomed To His Face - Get Me To The Church On Time - I Could Have Danced All Night |
My
Fair Lady |
1969 |
| On
The Road - Je Roule |
The
Lady In The Car With Glasses And A Gun |
1970 |
| I
Don't Know How To Love Him / Superstar |
Jesus
Christ Superstar |
1971 |
| Nothing
Succeeds Like Success |
The
Card |
1972 |
| It's
A Musical World |
The
Good Old, Bad Old Days |
1972 |
| Jour Et Nuit (Day By Day) |
Godspell |
1972 |
| Lazy
Afternoon |
The
Golden Apple |
1973 |
| Love
Story |
Love
Story |
1974 |
| The
Man That Got Away |
A
Star Is Born |
1974 |
| Open
Your Heart |
Rock
Nativity |
1974 |
| What
I Did For Love |
A
Chorus Line |
1975 |
| La
Chanson D'Evita |
Evita |
1977 |
| Don't
Cry For Me Argentina |
Evita |
1977 |
| Le
Grec |
The
Greek Tycoon |
1978 |
| I
Could Have Given You More |
Cats |
1979 |
| Sheldon
Bloom |
Tell
Me On A Sunday |
1979 |
| Edelweiss
(solo version) |
The
Sound Of Music |
1981 |
| The
Sound Of Music |
The
Sound Of Music |
1981 |
| A
Bell Is No Bell (with June Bronhill) |
The
Sound Of Music |
1981 |
| I
Have Confidence |
The
Sound Of Music |
1981 |
| Do-Re-Mi |
The
Sound Of Music |
1981 |
| My
Favourite Things |
The
Sound Of Music |
1981 |
| The
Lonely Goatherd |
The
Sound Of Music |
1981 |
| Something
Good (with Michael Jayston) |
The
Sound Of Music |
1981 |
| Do-Re-Mi
(reprise) (with Michael Jayston) |
The
Sound Of Music |
1981 |
| Edelweiss
(with Michael Jayston) |
The
Sound Of Music |
1981 |
| So
Long Farewell (with Michael Jayston) |
The
Sound Of Music |
1981 |
| Out
Here On My Own |
Fame |
1983 |
| Green
Hills Of Old England |
Someone
Like You |
1985 |
| Someone
Like You (with Steve Barton) |
Someone
Like You |
1985 |
| Memory |
Cats |
1986 |
| Good
Morning Starshine |
Hair |
1986 |
| Someone
Like You (with Dave Willetts) |
Someone
Like You |
1990 |
| Getting
The Right Thing Wrong |
Someone
Like You |
1990 |
| Home
Is Where The Heart Is |
Someone
Like You |
1990 |
| Someone
No One Can Ever Take Away |
Little
Tramp |
1992 |
| Getting
To Know You (with the Broadway Kids) |
The
King And I |
1994 |
| Marilyn
Monroe |
Blood
Brothers |
1995 |
| My
Child |
Blood
Brothers |
1995 |
| Bright
New Day |
Blood
Brothers |
1995 |
| Marilyn
Monroe (reprise) |
Blood
Brothers |
1995 |
| Marilyn
Monroe (2nd reprise) |
Blood
Brothers |
1995 |
| Light
Romance / Madman |
Blood
Brothers |
1995 |
| Tell
Me It's Not True |
Blood
Brothers |
1995 |
| With
One Look |
Sunset
Boulevard |
1996 |
| As
If We Never Said Goodbye |
Sunset
Boulevard |
1996 |
| The
Perfect Year |
Sunset
Boulevard |
1996 |
| Time
After Time |
It
Happened In Brooklyn |
1996 |
| Tell
Me It's Not True (solo version) |
Blood
Brothers |
1996 |
| I
Dreamed A Dream |
Les
Miserables |
1996 |
| The
Last Night Of The World |
Miss
Saigon |
1996 |
| Memory |
Cats |
1996 |
| It's
Magic |
Romance
On The High Seas |
1996 |
| The
People Tree (with Anthony Newley) |
The
Good Old, Bad Old Days |
1996 |
| I
Concentrate On You |
Broadway
Melody Of 1940 |
1998 |
| Easy |
Someone
Like You |
1998 |
| Not
A Day Goes By |
Merrily
We Roll Along |
1998 |
| Pinball
Wizard |
Tommy |
1998 |
| Stranger
In Paradise |
Kismet |
1998 |
| I
Never Do Anything Twice |
The
Seven-Per-Cent Solution |
1998 |
| Children
Will Listen |
Into
The Woods |
1998 |
| Falling
In Love Again |
The
Blue Angel |
1998 |
| Losing
My Mind |
Follies |
1998 |
| Seasons
Of Love |
Rent |
1998 |
| Vivre |
Notre
Dame De Paris |
2001 |
| Look
For The Silver Lining |
Zip
Goes A Million, Sally and Little Mary Sunshine |
2001 |
| I
Know Him So Well (with Melanie Stace) |
Chess |
2003 |
| Corner
Of The Sky (with Dusty Springfield) |
Pippin |
2007 |
| Sous
Ma Chemise |
Marguerite |
2012 |
| He
Loves And She Loves |
Funny
Face |
2013 |
| Feed
The Birds |
Mary
Poppins |
2020 |
| Anything
Can Happen |
Mary
Poppins |
2020 |
| I'm
Still Here |
Follies |
2022 |
The Fan Archive Collection houses a rich and extensive array of materials chronicling Petula's stage career, including photographs, posters, flyers, press clippings from newspapers and magazines, cast recordings,
studio recordings, TV and radio interviews / performances and original scripts.
Questions? Drop us an email: info@petula-archives.co.uk
©
2001 - 2025 www.petula-archives.co.uk - All rights reserved.
This
site is lovingly curated by fans for the celebration and preservation of
Petula's legacy. Petula's trademark
is acknowledged with respect. The use of "Petula Clark"
does not imply endorsement, and serves to provide accurate information
relevant to the historical context. This falls under "fair
use," which allows for the use of trademarks when it is essential
to describe something accurately rather than to promote it. This is a
non-commercial tribute with no official affiliation.
Please
do not copy, rewrite or redistribute materials from the pages of this
website.
Researched,
written, compiled and curated by Steven Warner & Tim Hutton.
Selected graphics by Ray Leaning @ Muse
Fine Art & Design.
Images
and ephemera from the Petula Fan Archive Collection. Banner image
licensed via Alamy. Some of the content featured on this page is shared
under the fair dealing rules of UK copyright law, for purposes
such as review, commentary, reporting, archiving, and linking. We've
included selected materials with care and wherever possible, we've
acknowledged and credited the original copyright holders, with sincere
appreciation for their work and legacy.
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