REVIEWS
Savannah Stevenson’s Guenevere, wistfully flirtatious one moment, heartbreaking later on, was compelling too. Her duet with Arthur, ‘What Do The Simple Folk Do?’, was revelatory, their singing and acting conveying the tragedy about to enfold them. She invested ‘Before I Gaze At You Again’ with a depth of expression that was most moving.
The Musical Theatre Review
Savannah Stevenson brings Arthur’s Queen (Ginny) Guenevere’s naivety, sweetness and sass to life with ‘The Simple Joys of Maidenhood’ and ‘The Lusty Month of May’, driving the drama from hopeful to tragic thanks to her ill-advised affair with Lancelot.
JonathanBaz.com - Heather Deacon
Stevenson made this role entirely her own through her vivacious, feisty and vocally assured performance.
SeenAndHeard-International.com - Jim Pritchard
Savannah Stevenson plays Guenevere. This is a role that could potentially be portrayed as simply a woman in love and with little depth however Stevenson delivers Guenevere as a medieval feminist, a take on the part I thoroughly approved of.
MusicalTheatreMusings.com
As Guenevere herself, Savannah Stevenson also shines. She brings a grounded but nonetheless dreamy quality, transporting us to Camelot with the very clarity of her voice. We see every inch the glorious Queen that Lancelot and her husband adore. It is very easy to fall in love with her, making it similarly easy to suspend your disbelief when these two men do at the drop of a hat (or at a bend of the knee).
West End Wilma - Laura Stanley
On the other side of the stage is Savannah Stevenson, perfectly portraying Glinda - silliness, bad jokes, hair tossing and all.
Harper’s Bazaar
Equal parts Clueless's makeover queen Cher and Legally Blonde's dippy Elle, Glinda is a role that runs the risk of being squeaky, but with her operatic projection and solid acting chops, Stevenson never irritates.
Digital Spy
Alongside Hatton is the exquisite Savannah Stevenson as Glinda (or Galinda, with a 'Ga' as she is known for the majority of Act I). She was effortlessly charming and had fabulous comedic timing throughout the show. Despite being utterly shallow and selfish on the surface, Glinda is incredibly likeable through Stevenson's enchanting portrayal and with her soaring soprano vocals, she is stunning in every sense of the word.
Pocket Size Theatre - Harriet Langdown
Happily, Savannah Stevenson is a sensational Glinda, in both Galinda and Glinda mode. She is easily the best performer I have seen in this role either in the West End or on Broadway. A consummate actress, she is precise and clear in every scene, covering with admirable dexterity the complete range from ditzy self-obsessed spoilt brat to radiant benign power-broker, with heartbroken girlfriend, betrayed and betraying best friend and popular idol beautifully judged along the way.
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Her comic timing is excellent, her rapport with Elphaba and Fiyero sensitively achieved and sustained, and her scene with the Wizard and Madame Morrible, after all has been revealed, quite fabulous.
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Vocally, Stevenson is breath-taking. She has a sure, clean Soprano which is warm and thrilling from top to bottom. The very high passages at the start of the show, in No One Mourns The Wicked, are pure and sound effortless; Popular is infectious and bursting with life; and there is real beauty in her work in Dancing through Life and the reprise of I’m Not That Girl. She is at her dazzling best in her duet work with Emma Hatton’s Elphaba: For Good is sublime, and there are quite magical moments, for different reasons, in the vitriolic What is this Feeling and the climactic Defying Gravity. In the harmonies, the two voices blend expertly, giving full value to Schwartz’ intentions.
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But, best of all, is her acutely felt work in Thank Goodness at the start of Act Two. Stevenson dazzles here, charting Glinda’s happiness and pain while all the while maintaining a façade of radiant and controlled beauty. In Stevenson’s performance, Glinda becomes the important central force the show needs.
BritishTheatre.com - Stephen Collins
An old fairytale gets a modern twist with Cinderella (a delightful Savannah Stevenson) working in a recession-hit shoe factory
The Guardian - Lyn Gardner
Savannah Stevenson makes a beguiling Cinderella, her crystalline voice especially appealing in her signature number, 'Simply Cinderella'.
British Theatre Guide - Steve Orme
Savannah Stevenson gives a lively, glowing performance as Cinderella, her regional accent adding an endearing quality to her singing voice.
The Independent - Lynne Walker
Savannah Stevenson’s Cinders sparkles throughout, lighting-up the stage she occupies for most of the show, only really disappearing for stroke-of-midnight quick changing. Always delivering perfection vocally, Stevenson also brings her natural charm to the tale of a charmingly ordinary girl who discovers a little magic, a little love and a new career.
ReviewsGate - Geoff Ambler
And there are high points – Savannah Stevenson's Cinderella is feisty and fun, a talented all-rounder whose slender shoulders carry the show.