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Juliet Prowse
Juliet Prowse
Juliet Prowse
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Juliet Anne Prowse (25 September 1936 – 14 September 1996) was a British-American dancer and actress whose four-decade career included stage, television, and film. She was born in Bombay (today's Mumbai) then part of British India, and raised in South Africa.[1] Known for her attractive legs, she was described after her death as having "arguably the best legs since Betty Grable".[2]

Key Information

Early life

[edit]

Prowse was born in Bombay, to an English father and South African mother, Phyllis Donne. After her father's death when she was three years old, her mother returned with her to South Africa. She began studying dance a year later, at the age of four.[1]

In her early twenties, she was dancing at a club in Paris when she was spotted by a talent agent and eventually signed to play the small role of Claudine in the upcoming Walter Lang film Can-Can (1960). She had already missed a few opportunities to go to Hollywood because she was already under contract but eventually left a show in Spain in which she was starring to travel to southern California in the United States for this film starring Frank Sinatra, Maurice Chevalier, Louis Jourdan, and Shirley MacLaine.

Career

[edit]

It was during the filming of Can-Can in 1959 that she captured the international spotlight. The Soviet Union's then–Communist Party leader Nikita Khrushchev, during his first American trip, visited the Los Angeles set of the film, and after Prowse performed a rather saucy exhibition of the 19th-century French dance the "can-can" for the Russian leader, he proclaimed it immoral. The ensuing publicity brought Prowse considerable attention in the United States. From there, her career accelerated, especially after her next film later that year, co-starring with rock and roll star Elvis Presley.[3]

Film and television

[edit]
Juliet Prowse with Elvis Presley in G.I. Blues (1960)

Prowse met Frank Sinatra on the set of Can-Can when she was 23 and he was 43 years old. Time magazine did not rate the movie highly, but declared Prowse the best thing in it: "In fact, the only thing really worth seeing is Juliet Prowse, a young South African hoofer who puts some twinkle in the stub-toed choreography. And the only thing really worth hearing is the crack that Frank flips back at Juliet when she whips a redoubtable hip in his direction. 'Don't point,' he gasps. 'It's rude.'"[4] She would also go on to appear with Sinatra and other notable guests such as Ella Fitzgerald, Peter Lawford, Hermione Gingold, the Hi-Lo's, Red Norvo, and Nelson Riddle and his orchestra on the December 1959 Frank Sinatra Show. She at times would sing in the chorus with other guests or Sinatra would sing to her.[5]

Prowse's next major musical and dancing role was alongside Elvis Presley in his film shot partially in West Germany about his recent Army draftee experiences that drew world youth attention for two years in G.I. Blues (1960). During shooting of the film, they had a short and intense romantic fling mirroring the movie plot. "Elvis and I had an affair... We had a sexual attraction like two healthy young people, but he was already a victim of his fans. We always met in his room and never went out," she later described in an interview.[6] Prowse also made a brief cameo appearance a decade later in the Metro-Goldwyn-Mayer documentary film, Elvis: That's the Way It Is (1970) as an interviewed audience member about to attend Elvis Presley's opening night show return as he restarted his concert tours and public appearances schedule after his 1960s feature film-making career lagged. It was held at the International Hotel (now the Westgate Resort & Casino) in Las Vegas on 10 August 1970.

She starred with Denny Scott Miller on her own brief NBC sitcom in the 1965–1966 season: Mona McCluskey, which was produced by George Burns. The series was based on the idea that the couple, Mike and Mona McCluskey, would live on his military salary, rather than her lucrative earnings as an actress.

Prowse also did other feature films, including The Fiercest Heart (1961) and Who Killed Teddy Bear? (1965) with Sal Mineo and Elaine Stritch.

Although her film and television career did not make her as big a star as predicted, Prowse had a rather philosophical way of looking at it. "Things generally happen for the best... I never worry about what happens in my career, because I can always do something else."[7] Prowse would later go on to headline successful Las Vegas shows, commanding a very high salary. Stating that Las Vegas was the most demanding place she ever worked, she won Entertainer of the Year for the Vegas run of Sweet Charity. She would later show off her famous dancer's legs in a series of lucrative nationwide TV commercials for several advertisers, including L'eggs hosiery and Mannington Flooring.

Prowse was a guest in the first season of The Muppet Show.[8]

In 1987, she was mauled by the same 80-pound leopard on two occasions: the first time while filming a scene for Circus of the Stars, then later while rehearsing a promotional stunt on The Tonight Show. The latter attack was more serious, requiring upwards of twenty stitches to reattach her ear.[9]

Throughout the mid-1980s and 1990s, Prowse hosted the Championship Ballroom Dance Competition on PBS.[citation needed]

Personal life

[edit]

Prowse was living with actor Nico Minardos when Frank Sinatra invited her to join him in Las Vegas.[10] She and Sinatra announced their engagement in 1962, which lasted only six weeks before the relationship ended. Prowse wanted to focus on her career and, shortly before calling off the wedding, she told celebrity columnist Hedda Hopper, "Frank wants me to give up the business," and stated that was a problem for her.[11] Prowse later admitted, "I was as much flattered as I was in love. He (Sinatra) was a complex person, and after a few drinks he could be very difficult."[6]

Prowse married Eddie Frazier, a dancer and choreographer, in 1969. The couple separated after eight months, and then divorced.[11] She married actor John McCook in 1972, after the wedding had been delayed for five weeks when she gave birth to their only child, a son whom they named Seth, on the originally scheduled date.[11] The marriage ended in divorce in 1979.[12]

Death

[edit]

In 1994, Prowse was diagnosed with pancreatic cancer. In 1995, she went into remission and was well enough to tour with Mickey Rooney in Sugar Babies, but the cancer subsequently returned. Prowse died on 14 September 1996, 11 days before her 60th birthday.[13]

Filmography

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Film

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Television

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Stage work

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Juliet Prowse

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Juliet Prowse (September 25, 1936 – September 14, 1996) was a dancer and actress renowned for her long-legged performances in film, stage, and television, particularly gaining international fame for her can-can routine in the 1960 musical Can-Can, which drew commentary from Soviet Premier Nikita Khrushchev as "immoral." Born in Bombay, India, to an English father born in South Africa and a South African mother, Prowse was raised in Johannesburg after her father's early death, beginning ballet training at age four and joining the Johannesburg Festival Ballet at 14 before moving to London for further studies. Her career spanned over three decades, starting with European dance tours and leading to Hollywood breakthroughs, including her film debut opposite Frank Sinatra and Shirley MacLaine in Can-Can (1960) and a leading role alongside Elvis Presley in G.I. Blues (1960). Prowse's versatile talents as a triple threat—dancer, singer, and actress—propelled her to stardom in diverse mediums. On stage, she starred in London productions of the musicals Sweet Charity (1967), where she performed the iconic number "If My Friends Could See Me Now," and Mame (1969), earning acclaim for her energetic choreography and charisma. In film, beyond her early hits, she appeared in dramas like Who Killed Teddy Bear? (1965) with Sal Mineo and westerns such as The Second Time Around (1961) with Debbie Reynolds, showcasing her range from musical extravagance to dramatic roles. Television became a mainstay, with her starring in the sitcom Mona McCluskey (1965–1966) as a military wife and frequent guest spots on variety shows, alongside high-profile Las Vegas nightclub acts that won her multiple Female Entertainer of the Year awards in the 1970s. In her personal life, Prowse was linked romantically to , who proposed marriage during their time working on , though she declined; she later married dancer and choreographer Eddie Frazier in 1969 (divorced after eight months) and actor in 1972, with whom she had one son, , before separating in 1979. Despite battling health issues, including a long-term struggle with , she continued performing until shortly before her death at age 59 in her home. Her legacy endures as a symbol of mid-20th-century showmanship, blending athletic prowess with on-screen allure.

Early life

Family background and childhood

Juliet Anne Prowse was born on September 25, 1936, in Bombay (now ), British , to an English father born in , Reginald Morley Prowse, who worked as a traveling salesman, and a South African mother, Phyllis Thelma Donne (later Polte after remarriage). Her father died when she was three years old, leaving her mother to raise her and her older brother, Clive. Shortly thereafter, the family relocated to , first to relatives in and then to near , where Prowse spent the remainder of her childhood. Prowse's upbringing in occurred amid South Africa's complex cultural landscape in the post-World War II era, marked by British colonial legacies, indigenous African traditions, and growing international influences from European immigrants. This multicultural environment fostered an appreciation for diverse artistic expressions, including theater and music, which were prominent in the city's burgeoning urban scene. Her family's move from further contributed to this blended heritage, exposing her to Eastern and Western cultural elements from an early age. From a young age, Prowse displayed a natural for movement, as her mother later recalled: "Juliet showed an for dancing from the time she could walk." This interest culminated at age four, when she began studying in , marking the start of her lifelong passion for dance amid Johannesburg's emerging community, which included local ballet troupes and international touring productions.

Dance training and early influences

Juliet Prowse began her formal dance training at the age of four in , , where she was introduced to through local classes that ignited her lifelong dedication to the art form. After her family relocated to near , she continued her studies with increasing intensity, traveling independently by bus to at age 12 for advanced lessons under a Russian instructor. Her early education was structured under the Royal Academy of Dance, which provided the foundational technique that defined her style. By age 14, Prowse had progressed to professional levels, joining the Festival Ballet Society in as its youngest member and performing in productions across the city and . She benefited from the guidance of Sturman, the society's co-founder, whose instruction helped refine her skills in classical repertoire. Although deeply rooted in South African circles, Prowse's training extended to , where she honed her classical technique amid the city's vibrant scene. At 17, Prowse relocated to to advance her career, auditioning for the Sadler's Wells Ballet but being rejected due to her height of 5 feet 8 inches (1.73 m), which made partnering challenging in classical works. This pivot led her to embrace , allowing her to capitalize on her leggy physique and expressive movement. She debuted professionally in the London production of the musical Kismet, marking her transition from student to performer. A part in Kismet led to an engagement at a nightclub, but she was unable to perform due to her youth; she then toured to and , where choreographer discovered her talent in 1959, praising her as an exceptional female dancer. These formative experiences shaped her versatile, charismatic approach, blending ballet precision with modern flair.

Professional career

Breakthrough roles in film and stage

Juliet Prowse was discovered by choreographer while performing in a nightclub, leading to her casting in the 1960 musical film . In the film, directed by Walter Lang, she portrayed Claudine, a dancer, sharing the screen with as François Durnais, as Simone Pistache, and as Philippe Forrestier. Prowse's performance featured energetic dance numbers staged by , highlighting her exceptional leg extensions and athleticism in the can-can sequences. During filming in late 1959, Prowse's solo high-kicking dance routine garnered international attention when Soviet Premier visited the set and enthusiastically applauded her performance, though he later denounced the dance as immoral; the event was widely photographed and reported. This unexpected endorsement transformed her from an unknown dancer into an overnight sensation, propelling her career forward and establishing her as a rising star in Hollywood musicals. The incident underscored the film's lavish production values and Prowse's standout contribution, despite mixed critical reception for the overall picture. Prowse's momentum continued with her second film, (1960), where she played Lili, a sophisticated dancer, opposite as Tulsa McLean. Directed by , the musical showcased several dynamic dance sequences between Prowse and Presley, emphasizing her precise technique and their rhythmic synergy on screen. Critics praised her as a first-rate dancer with pixie-like charm, noting how her role enhanced the film's lighthearted army-base comedy and further solidified her Hollywood profile. Prior to these films, Prowse's early stage work in European revues, including principal roles at the in , had honed her leggy, high-energy dance style that captivated audiences and paved the way for her cinematic breakthrough. This distinctive approach to movement, combining precision with flair, quickly drew media acclaim and set her apart in the competitive world of musical entertainment.

Television and variety appearances

Prowse transitioned to television in 1965 with the lead role of Mona McCluskey in the sitcom Mona McCluskey (1965–1966), portraying a glamorous Hollywood actress married to an sergeant, played by , as the couple humorously navigated life on his modest military salary despite her fame and fortune. The series, produced by Productions, aired for 26 episodes before cancellation after one season, marking Prowse's only starring role in a weekly TV program. Throughout her career, Prowse frequently guest-starred on variety shows, leveraging her dance expertise to perform dynamic routines that blended elegance and athleticism. She headlined on The Ed Sullivan Show in a 1964 episode, delivering standout dance performances alongside singer Connie Francis and the Harlem Globetrotters, which showcased her as a versatile entertainer on live television. In 1977, Prowse appeared in season 1, episode 101 of The Muppet Show, the first produced episode of the series, where she danced to Scott Joplin's ragtime piece "Solace" with a chorus of Muppet elephants known as the Green Gazelles and participated in comedic sketches that highlighted her charm and agility. Her appearances on The Tonight Show Starring Johnny Carson included a 1965 installment featuring Frank Sinatra and Dean Martin, during which she performed song-and-dance numbers. In 1987, during a rehearsal for the CBS special Circus of the Stars, a leopard attacked her, resulting in 30 stitches but underscoring her commitment to high-energy TV bits. In later decades, Prowse demonstrated her acting range through recurring and guest roles in scripted series, moving beyond dance-centric spots. She appeared in four episodes of (1979–1987) as characters including Faye Marsh and Samantha Bricker, often portraying sophisticated women in romantic or adventurous scenarios aboard the cruise ship. On (1984–1996), she guest-starred in the 1987 episode "A Fashionable Way to Die" as fashion designer Valerie Bechet, blending her dramatic skills with the show's mystery format in what became one of her final on-screen roles. Additionally, she made appearances on (1978–1983), contributing to the anthology's escapist tales with her poised presence. Prowse also hosted television specials focused on dance in the 1980s and 1990s, drawing on her professional background to provide insightful narration. She co-hosted the annual PBS series Championship Ballroom Dancing—produced by WGBH-TV in Boston—alongside Ron Montez, offering commentary on international competitions in standard and Latin styles, such as waltzes, tangos, cha-chas, and sambas, which aired regularly and emphasized competitive artistry.

Las Vegas shows and later performances

In the and , Juliet Prowse established herself as a major draw in , headlining high-energy acts that showcased her renowned dance skills and commanded top salaries. She starred in a production of at in 1966, performing a tab version of the musical twice nightly for six months to capacity audiences, earning her the Entertainer of the Year award. Her 1968 return to the Flamingo Hotel featured an all-new show tailored to her talents, solidifying her status as Las Vegas's top female star of 1967. At the in 1971, Prowse delivered a sensational produced by Tony Charmoli, blending dance variations, comedy, ballads, and a 15-minute "" ballet, praised for its simplicity and finesse amid sold-out crowds. She won the Female Entertainer of the Year award in four times during this era, reflecting her adaptability to the demanding circuit. Prowse's stage work evolved into acclaimed revivals that highlighted her dramatic range beyond dance. In 1988, she starred as the Poet in a regional revival of Kismet at the Pasadena Civic Auditorium, where critics noted her enduring appeal and commanding presence in the exotic musical comedy. Although best known for originating Charity Hope Valentine in the 1966 Las Vegas production and the 1967 London West End run of —where her performance of "If My Friends Could See Me Now" stopped the show—she continued to draw on such roles in later cabarets, adapting Fosse-inspired numbers for mature audiences as entertainment trends shifted toward spectacle and nostalgia. During the 1980s, Prowse toured internationally with solo headline acts, including a successful Australian run where she performed high-kicking routines to enthusiastic crowds in , , and . These one-woman shows incorporated elements from her earlier breakthroughs, like the from Can-Can, but toned for evolving tastes, emphasizing vocal and comedic timing over pure athleticism. In the 1990s, as physical demands lessened with age, Prowse transitioned to character-driven roles in regional theater, demonstrating her versatility. She played opposite Bebe Neuwirth's in a 1992 West Coast revival of at the Long Beach Civic Light Opera's Terrace Theater, delivering a razor-sharp portrayal in the jazz-infused murder tale that earned praise for its sassy energy. Prowse reprised the title role in Mame at the in Glendale in 1994, infusing the eccentric aunt with graceful agility and drawing critical acclaim for aging gracefully into the part she had originated in in 1969. Her final major stage appearance came in a 1995 Las Vegas run of Sugar Babies at the , a 10-week summer engagement that celebrated her roots in a lighthearted format.

Personal life

Romantic relationships

Juliet Prowse's romantic involvement with Elvis Presley began during the filming of G.I. Blues in 1960, where she played his love interest, leading to a brief dating period marked by off-set outings that captured significant tabloid attention. Prowse later described Presley as a "nice, polite chap," emphasizing that their connection was not a steady relationship but one exaggerated by media speculation. In 1962, following her collaboration with on the film in 1959, Prowse became engaged to the singer after he proposed during a dinner at Romanoff's in Beverly Hills. The engagement lasted only six weeks, ending amicably when Prowse chose to prioritize her career over Sinatra's expectations that she retire from performing. These high-profile romances, including rumors of a between Prowse, Presley, and Sinatra—which she publicly denied—contributed to her glamorous public as a sophisticated entertainer in early Hollywood, boosting her visibility without resulting in long-term commitments.

Marriages and family

Juliet Prowse married dancer and choreographer Eddie Frazier in June 1969. The couple separated after eight months and later divorced. In 1972, Prowse married actor John McCook, with their wedding delayed five weeks after she gave birth to their son, Seth McCook, an hour before the originally scheduled ceremony. The marriage lasted until their divorce in 1979. Following the divorce, Prowse and McCook maintained a close relationship as co-parents to Seth, with McCook later stating, "We remained very close and, as co-parents, we were always there for Seth." Prowse remained actively involved in her son's upbringing despite her demanding performance schedule.

Later years and death

Health diagnosis and treatment

In 1994, at the age of 57, Juliet Prowse was diagnosed with . She underwent as part of her treatment, which she continued while teaching classes to maintain her . The ultimately damaged her kidneys, complicating her further. By 1995, Prowse achieved remission, enabling her to take on a limited performance schedule, including a 10-week summer run as the in the Las Vegas production of Sugar Babies alongside . Throughout the mid-1990s, she reduced her onstage appearances significantly, focusing instead on hosting the Championship Ballroom Dance Competition, which allowed her to stay connected to the dance world in a less physically demanding capacity. Her manager publicly highlighted her resilience during this period, noting her determination to perform despite the illness.

Death and posthumous legacy

Juliet Prowse died on September 14, 1996, at her home in the Holmby Hills neighborhood of from complications of , at the age of 59. A private memorial service was held shortly thereafter, attended only by family and close friends. Following her death, tributes poured in from the entertainment and communities, emphasizing her groundbreaking contributions as a female dancer and performer. Colleagues and critics alike praised her as one of the last great international , known for her exceptional high kicks and commanding stage presence that blended training with vibrant showmanship. In the world, events like the 1997 Ohio Star Ball featured dedicated tributes to her legacy, celebrating her influence on ballroom and entertainment . Posthumously, Prowse's impact has been preserved through archival releases of her performances, including restored footage from her television appearances and films like G.I. Blues, made available on streaming platforms and documentaries. In 2025, her niece Juliet E. Prowse published the biography Born to Dance: The Extraordinary Life Story of My Aunt, offering intimate family anecdotes, unpublished stories, and insights into her aunt's personal and professional journey.

Performing arts credits

Feature films

Juliet Prowse's feature film appearances, spanning the late to the mid-1960s, primarily emphasized her expertise while gradually incorporating dramatic roles, cementing her status as a versatile performer who bridged precision with cinematic charisma. Her limited but impactful highlighted athletic and on-screen poise, drawing from her extensive under experts like Leonide Massine and Ejnar Hansen. These projects often positioned her in musicals and adventures where movement was central, allowing her to contribute to sequence designs and elevate supporting parts into memorable showcases. Prowse made her credited feature film debut in (1960), portraying Claudine, a vibrant can-can dancer amid the film's depiction of 1890s Parisian nightlife. Directed by Walter Lang for 20th Century Fox, the musical starred as a lawyer defending the dance's legality and as the lead performer; Prowse's role involved key ensemble numbers choreographed by , including the high-energy "Garden of Eden Ballet," where her leg extensions and splits garnered acclaim. Filmed entirely on studio sets in Hollywood, her performance gained global notoriety when Soviet leader attended a and publicly criticized the routine as too provocative, propelling her to stardom and securing a studio contract. This debut exemplified her ability to merge technical dance prowess with narrative charm, establishing her hybrid appeal in Hollywood musicals. Later that year, she starred as Lili, a club dancer and romantic foil, in (1960), Elvis Presley's first film after his military service. Directed by and produced by for Paramount, the comedy follows Presley as Tulsa McLean, a soldier betting he can win Lili's affection; Prowse's sequences, including the flirtatious "Tonight Is So Right for Love" and a dynamic , were tailored to her strengths, with input on to accentuate her flexibility and stage presence. occurred at Paramount Studios in Hollywood, supplemented by location work in —such as scenes in and —to evoke Army life abroad, though Presley filmed remotely due to his posting. The role amplified her visibility as a leading lady capable of matching major stars in both dance and chemistry, contributing to the film's box-office success amid Presley's comeback. In , Prowse diversified into adventure and Western genres across three releases, demonstrating her adaptability beyond dance-centric fare. She played Francina Prinsloo, a resilient , in The Fiercest Heart, a epic directed by George Sherman for 20th Century Fox, based on Stuart Cloete's novel about 1830s . Co-starring as a British , the film featured action-oriented scenes where Prowse's physicality—honed from years of —added authenticity to horseback and confrontation sequences filmed on location in , tying into her own heritage there. Her portrayal balanced vulnerability with strength, broadening her image as an actress who could anchor dramatic narratives. That same year, in The Second Time Around, directed by Vincent Sherman, Prowse portrayed Rena Mitchell, a saloon entertainer in territorial . The Western comedy, starring as a widowed homesteader and as a deputy, included light musical moments where Prowse performed songs and dances, contributing ideas to the for her numbers to reflect the era's vitality; interiors were shot at 20th Century Fox studios, with exteriors in Utah's St. George area. This supporting role further illustrated her skill in integrating performance with character-driven comedy. Prowse also appeared as Ursula Poe, a cynical entangled in showbiz schemes, in The Right Approach (1961), a 20th Century Fox drama directed by David Butler and starring as an opportunistic agent. Filmed on Hollywood soundstages, the film explored Hollywood's underbelly, with Prowse's role allowing brief dramatic depth alongside her poised physicality, though dance was minimal; it underscored her transition toward more character-focused parts. By 1965, Prowse ventured into international and thriller territory. In Dingaka, a South African production directed by , she played Marion Davis, the supportive wife of a lawyer () navigating tribal retribution. Shot extensively on location in the and , the adventure drama highlighted cultural clashes, where Prowse's familiarity with the region informed her authentic depiction of expatriate life, though her role was secondary to the action. Her most notable dramatic turn came in (1965), where she led as Norah Dain, a disc jockey terrorized by an obsessive stalker (). Directed by Joseph Cates for Magna Pictures Corporation and filmed in nightclubs and apartments, the thriller delved into psychological tension, with Prowse's performance—marked by vulnerability and resilience—earning praise for elevating the film's exploration of and urban fear; a pivotal scene with Mineo blended her movement skills with emotional intensity. This role solidified her acting credentials, distinct from her dance-heavy origins. Prowse's final credited feature was Run for Your Wife (1966, filmed in 1965), a Eurospy directed by Sacripanti, in which she played Jenny, a in a convoluted plot involving a man's dual wives (Rhonda Fleming and Graziella Granata) and antics with Ugo Tognazzi. Produced as an Italian-British co-production and shot in studios, her role was minor and comedic, with limited focused on glamour rather than , marking a lighter close to her film phase. Collectively, these films positioned Prowse as a dancer-actress hybrid whose contributions— from choreographic input in musicals to physical authenticity in adventures—bridged stage discipline with screen demands, influencing her pivot to television and live performances where her talents shone more prominently.

Television roles

Juliet Prowse starred as the titular character in the NBC sitcom Mona McCluskey, which aired from September 16, 1965, to April 14, 1966, across 26 episodes. In the series, produced by George Burns, she portrayed Mona McCluskey, a glamorous Hollywood actress and dancer attempting to balance her high-profile career with domestic life after marrying an Air Force sergeant played by Denny Miller; the premise highlighted comedic tensions from her dual existence, showcasing Prowse's talents in acting, singing, and dance routines within everyday scenarios. This marked her only lead role in a weekly television series, emphasizing her versatility beyond stage and film. Prowse made numerous guest appearances on variety and drama series throughout the 1960s and later decades, often leveraging her dance background for performance segments. On The Ed Sullivan Show, she appeared multiple times in the 1960s, including a January 19, 1964, performance of "Tell All the World" and a can-can routine to Jacques Offenbach's music in another episode, where she danced with precision and energy that captivated audiences. Her debut on The Muppet Show in the season 1 premiere episode (aired April 25, 1977), served as the guest star, where she performed a ragtime dance to Scott Joplin's "Solace" with Muppet gazelles and sang "My Shining Hour," blending her elegance with the show's whimsical chaos. In dramatic roles, she guest-starred as Valerie Bechet, a fashion designer entangled in murder, in the Murder, She Wrote episode "A Fashionable Way to Die" (season 4, episode 1, aired September 20, 1987), delivering a poised yet scheming performance in a Paris-set storyline. Other notable guest spots included multiple episodes of The Love Boat in the late 1970s and early 1980s, where she played characters like Faye Marsh and Samantha Bricker, often involving romantic subplots with dance elements. From the mid-1980s through the 1990s, Prowse hosted the series International Showtime (also known as Championship Ballroom Dancing), presenting over 20 episodes focused on global competitions and performances; she co-hosted annual specials featuring international styles, drawing on her own expertise to narrate and introduce routines from around the world. These hosting duties highlighted her passion for , providing educational segments on techniques and cultural contexts while occasionally demonstrating steps herself.

Stage productions

Juliet Prowse began her stage career in the mid-1950s with dance-focused performances in Europe, including a role as Princess Samaris in the London production of the musical Kismet at the Stoll Theatre, which ran from April 1955 to 1956. This early experience in musical theater highlighted her skills as a dancer, leading to further opportunities in cabaret and revue-style shows across the continent. Her Broadway debut came in 1962 with at the Winter Garden, a special at the where she served as both a featured performer and co-choreographer alongside Tony Charmoli, contributing to the production's dance sequences during its limited run from to November. Prowse's choreography emphasized her signature style of extended leg lifts and high kicks, which became a hallmark of her routines and influenced subsequent dance numbers in musicals. Internationally, Prowse starred as Charity Hope Valentine in the London production of at the Prince of Wales Theatre in 1967, earning acclaim for her portrayal of the optimistic dance-hall hostess in Cy Coleman's score; the captured her vocal and dance prowess in numbers like "If My Friends Could See Me Now." She reprised similar high-energy roles in residencies during the late and 1970s, including a 1966 tab version of at a local theater that condensed the musical into 90-minute nightly shows with custom choreography showcasing her athletic extensions. In 1969, she took on the title role of Mame Dennis in the West End production of Mame at the Theatre Royal Drury Lane, bringing her vibrant stage presence to Jerry Herman's musical comedy. In the 1980s, Prowse focused on regional and revival work, starring as Phyllis Rogers Stone in productions of Stephen Sondheim's , first in a 1988 regional revival and then in the 1990 engagement at the Wadsworth Theatre, where her performance of "The Story of Lucy and Jessie" underscored her enduring elegance. She also headlined a 1988 revival of Kismet for Music Theatre at the Pasadena Civic Auditorium, portraying a central role in the exotic musical with her characteristic flair for dramatic movement. Prowse returned to touring in 1990 as Mame Dennis in a national revival of Mame, performing across U.S. venues under Columbia Artist Theatricals through December. Throughout her career, Prowse's work often featured innovative that exploited her exceptional flexibility, particularly in extended leg extensions during and sequences, setting her apart in both musical revivals and headline acts.

References

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  21. https://www.deseret.com/1996/9/13/19265517/prowse-losing-her-fight-against-pancreas-cancer/
  22. https://ovrtur.com/production/2903996
  23. https://www.facebook.com/groups/1684044015213864/posts/3516471925304388/
  24. https://www.upi.com/Archives/1996/09/14/Famed-dancer-Juliet-Prowse-dies-at-59/2080842673600/
  25. https://www.youtube.com/watch?v=YUPTthw88Jc
  26. https://www.youtube.com/watch?v=ss4eDJtdO8M
  27. https://www.amazon.com/Juliet-Prowse-Dance-Extraordinary-Story/dp/1037023420
  28. http://www.elvis-history-blog.com/juliet-prowse.html
  29. https://www.tcm.com/tcmdb/title/20150/gi-blues
  30. https://www.imdb.com/title/tt0053848/locations/
  31. https://www.tcm.com/tcmdb/title/74786/the-fiercest-heart
  32. https://www.imdb.com/title/tt0060709/fullcredits
  33. https://www.rottentomatoes.com/m/run_for_your_wife_1966
  34. https://epguides.com/MonaMcCluskey/
  35. https://www.youtube.com/watch?v=vRYgcQ4Ttl0
  36. http://ctva.biz/US/MusicVariety/EdSullivan_17_%281964-65%29.htm
  37. https://www.tvguide.com/celebrities/juliet-prowse/credits/3000430992/
  38. https://time.com/archive/6622600/hollywood-the-nicest-yet/
  39. https://www.ibdb.com/broadway-production/eddie-fisher-at-the-winter-garden-2788
  40. https://playbill.com/article/ken-mandelbaums-musicals-on-disc-sweet-charity-com-76328
  41. https://www.masterworksbroadway.com/music/sweet-charity-original-london-cast-recording/
  42. https://ovrtur.com/production/2901706
  43. https://www.broadwayworld.com/people/Juliet-Prowse/
  44. https://www.latimes.com/archives/la-xpm-1988-06-20-ca-3476-story.html
  45. https://www.ibdb.com/tour-production/mame-518889
  46. https://playbill.com/article/ken-mandelbaums-aisle-view-treasured-replacements-com-101975
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