Nova Scotia 2008
A WORD WITH DR JOHNSON, James Runcie, directed by Marilyn Imrie, Oran Mor and Traverse, 2015.
"..his wife, Tetty, played by Gerda Stevenson with such grace and poignancy that it’s hard to believe that within a couple of minutes, she’s once again back in breeches and tam o’shanter, playing Dr Johnson’s favourite Scotch assistant, Mr Sheils." The Scotsman.
"With Gerda Stevenson at her articulate, delicately-observed best as Tetty – and robustly vibrant in a variety of trouser roles – there is a touching sense of the uxorious to their relationship. There is nothing needy about her Tetty, though, as she articulates the understanding relationship of a woman of formidable intellect with a man over a decade her junior." www.alledinburghtheatre.com
"Gerda Stevenson’s beautiful clear voice caresses both prose and song as she easily switches gender from the cocky Mr Shiels to the ailing, cordial drinking Mrs Johnson." www.edinburghguide.com
GRIT - THE MARTYN BENNETT STORY, by Kieran Hurley, directed by Cora Bissett, Tramway and Mull Theatre, 2014.
"As Martyn’s mother, folklorist and singer Margaret Bennett, Gerda Stevenson’s fine singing voice and grasp of Gaelic was a godsend, as she was for this role. As the mother introducing her son to the worlds of Scottish literature and music or nervously recording song under Martyn’s dictatorial direction Stevenson was the perfect, gentle, nurturer of Grierson’s wide-eyed, inquisitive, perfectionist Martyn. In playing a number of other female roles Gerda Stevenson showed immense versatility, not least with her joyous portrayal of traveller/singer/writer Sheila Stewart, whose guidance was a strong influence on Martyn’s last album." www.folkradio.co.uk
"...supported beautifully by Gerda Stevenson, in fine voice in Gaelic song as Bennett’s mother, Margaret (among other roles).: The Telegraph.
THE GOVERNMENT INSPECTOR, by Nicolai Gogol, Communicado Theatre Co., 2010/11
"...his invincibly vain and silly wife Anna, superbly played by Gerda Stevenson." Joyce McMillan, The Scotsman, 2011.
Tam O' Shanter , Communicado, Assembly, Edinburgh Fringe, 2012
"...knockout performance from Gerda Stevenson." Michael Coveney, What's on Stage.
"...many splendid solos, the most memorable by Gerda Stevenson." The Skinny.
"...with Gerda Stevenson giving particularly fine voice to Jon Beales’ arrangements of the Bard’s ballads and sangs." The List.
Dancing at Lughnasa 1996
Blue Black Permanent 1992
early days at Stoke
Yellow on the Broom
Macbeth on Inchcolm
Blue Black Permanent 1992
the Thrie Estaites
NOVA SCOTIA, by John Byrne, Traverse, Spring, 2008.
“Gerda Stevenson provides a particularly sharp performance as Lucille.”Thom Dibdin,The Stage, 1st May, 2008.
“Morrow's resentful Phil, Mulgrew's comically self-obsessed Spanky and Stevenson's long-suffering Lucille, all from the original Slab Boys line-up, sparkle.”Lynne Walker, The Independent, 2nd May, 2008.
“Excellently portrayed by Morrow, Mulgrew and Stevenson, they refuse to behave as if the world has passed them by -- still lusty, witty and ambitious.” Mark Fisher, Variety, 6th May, 2008.
“There’s the odd laugh here and there – most of them courtesy of Gerda Stevenson’s deadpan Lucille .” Shona Craven, Onstage Scotland, May 2008.
“Stevenson captures a host of raunchy undertones that are deftly balanced in equal measure to the maternal ‘Weegie wifey’ as she runs around after Spanky as if he were a two year old.” Mhairi MacLeod, itsonitsgonecom, 30th April, 2008.
FROZEN, by Bryony Lavery, Rapture Theatre, Autumn, 2006.
“Magnificently played by Gerda Stevenson, Nancy is a woman wholly exposed to the audience from the start. Stevenson as the mother and John Kazek as the killer both give disturbingly brave and powerful performances, and the impact is both overwhelming, and, in the end, strangely life-enhancing.” Joyce McMillan, The Scotsman, November, 2006.
“It’s Gerda Stevenson’s Nancy who grabs the emotional reins. Ageing beautifully through several costumes and 20 years, she’s ordinary and decent. But the ordinary becomes extraordinary when shaped by intense pressure. Conversationally informal or blazing with the force of a tragic protagonist, Stevenson is the heart of this intricate, yet clear, drama...a not-to-be-missed tour.” ReviewsGate, October, 2006.
“...the audience hardly dares draw breath. Kazek is horrifyingly believable as the amoral Ralph. Stevenson creates an emotionally charged account of all the different phases which
Nancy goes through after the disappearance of her daughter. All told, a stunning production.”
The Stage, October, 2006.
Gerda Stevenson as Nancy captures the horrific contradictions in knowing the worst but also attempting, on the surface, to live a normal life. Trapped with her pain, she desperately wants to "feel better or even different."... it's the performances which remain in the memory: the three damaged people are perfectly portrayed. Stevenson in particular goes through the wringer, but emerges with some semblance of hope. "Actually," she says, "nothing is unbearable"..” Stephen Gray, Edinburgh Evening News, 6th November, 2006.
“Gerda Stevenson is nothing short of superb, soaring, grovelling, girlish, and haggard, terrifying and deeply moving in the grip of her terrible fate.” Joyce McMillan, The Scotsman, April 2000.
“...intensely charged, but convincingly modulated performances from the cast, especially Gerda Stevenson as Phaedra, whose inner turmoil over her forbidden, but all-consuming passion for her stepson, roller-coasting from suicidal guilt to desperate hope to jealous fury and back, she communicates with agonising vividness.” Sue Wilson, The Independent, April, 2000.
“Gerda Stevenson was both seductive as Sensuality, and compelling as Jane the Common-Weill, protesting passionately against the neglect of the poor.” Paul Scott, The Scotsman, July 2000.
“Jim Broadbent and Linda Basset played A Place With The Pigs at the National in 1988; Mulgrew, as the deserter Pavel, and Gerda Stevenson as his absurdly loyal consort, reinvent the play’s impact entirely. I’ve never thought that Fugard wrote a great play after ‘Sizwe Banzi Is Dead’, but now I’m having second thoughts. The Observer, 1995.
DANCING AT LUGHNASA (Maggie), by Brian Friel, directed by Kenny Ireland, Royal Lyceum Theatre, 1994.
“…powerful ensemble work, with Stevenson quite outstanding as the raunchy, man-hungry, Woodbine-smoking Maggie, whose sudden wild dance at Lughnasa time gives the piece its name.”
Joyce McMillan, Scotland On Sunday, 1994.
“Gerda Stevenson is outstanding as the spirited Maggie.” Mark Fisher, The Guardian, 1994.
AND THE COW JUMPED OVER THE MOON (Andrea), by Donna Franceschild, directed by Ian Brown, Traverse Theatre.
“…the play produces one magnificent performance – Gerda Stevenson, in possibly the finest naturalistic performance I’ve ever seen at The Traverse, a brave, bad-tempered, funny, foul-mouthed club singer, divorcee and mother of four, who spends her last days teaching Eloise how to defy death, and cheating her cold, sin-obsessed Catholic mother of the right to dominate her children’s lives after she’s gone.”
Joyce McMillan, The Guardian, November 1990.
“The cast rally to the cause, spearheaded by a fireball performance from Gerda Stevenson.”
Julie Morrice, The Glasgow Herald, November 1990.
“Gerda Stevenson, as the youngest explorer, Alexandra, almost upstages her namesake, as her wide-eyed wonder at natural phenomena turns to enthusiasm for rock and roll (a solo dance lands her on the floor and the audience nearly on their feet).”
Harry Eyres, The Times, April 1989.
“Gerda Stevenson plays Desdemona as if she were a child bride, besotted by her lord and master, galvanised by the very sight of him. Her flirtations with Cassio are playfully naïve, her innocence transparent.” W. Gordon Smith, The Observer.