"Morris, a polished performer with a fine voice and a good line in glittering gowns sounded splendid on the Lloyd Webber classic Don’t Cry for Me Argentina."

"Reimagined classics, such as Black is the Colour and The Parting Glass, combined with original compositions, all brought to life by live vocals from Dunedin-born singing sensation Sophie Morris"

“It also gave a glorious opportunity for local jazz groups to flex and display their talents. Most notable of these was Sophie Morris. Her relaxed professionalism and vocal control delivered some stunning numbers which wowed the audience. Eva Cassidy’s ‘Songbird’, ‘All That Jazz’ and Bonnie Raitt’s ‘I Can’t Make You Love Me’ gave marvelous avenues for Morris’ dramatic drive and well rounded tone”. 

‘Skillington's great comic timing, as she threatens those who mess with her greens (especially the beans), means she is as funny as she is frightening. It is the poignancy of her relationship with her adopted daughter that brings a lump to the throat however. ‘Our Little World', her duet with Rapunzel (songbird Sophie Morris, sweet in heavenly blue) is a highlight for me, expressing all the heartache of parents who try in vain to hold onto their children..’ 

‘Sophie Morris’ performances just keep on getting better. She now has an impressive voice range and stylistic range, going effortlessly from the belle canto required in Dvorak’s Rusalka’s Song to the Moon and Puccini’s O mio babbino caro to Bernstein’s soaring Somewhere, Webber’s guttural Memory and Kander and Ebb’s raunchy All That Jazz. Morris is definitely the ascendant star.’

‘...the opening number, I Have a Dream, leading into Honey Honey sung to perfection starring Sophie Morris as Sophie Sheridan... and as the story of one girl with three possible fathers panned out, it was clear to see the show would be high on energy, tempo and entertainment... The vocals were strong throughout...with Morris and Tiffany Mitchell (Donna Sheridan) leading from the front...’ 

‘Shush-a-shush opened with organ obligato, whispered "Shushes" and calm entreaties of slumber. Little One featured soprano Sophie Morris, in very professional deliveries of long sweetly toned phrases. Penguins brought a change of style with "tiny blue penguins" scurrying about as children prepare for bed, and The Night Singers featured Morris soaring above impressive harmonic choral textures depicting sounds of the night. Beddington and Hope of My heart completed the half-hour cycle, which was highlighted throughout with colourful organ accompaniment." 

'In the lead roles of Sandy and Danny, Sophie Morris and Samuel Armstrong achieve a nice chemistry, forming a focal point amid a lot of stage business and winning audience sympathy. Both move well and are in very fine voice indeed - with particular stand-out moments in ‘Summer Nights' (duo), ‘Hopelessly Devoted To You' (Morris), and ‘Sandy' (Armstrong).'

‘Morris’ voice is remarkably rich, with good control throughout the range’

‘Several choir items, such as Scarborough Fair and Thank You My Lord were particularly enhanced by Sophie Morris, this year’s RSA Choir Scholar … The clarity of tone and beauty of the young soprano’s voice was also stunning in her bracket of solos with pianist Tom McGrath, particularly in three songs by New Zealand composer Douglas Lilburn.’

‘Sophie Morris, another emerging artist with pure clear tone, confident technique and an endearing stage manner, performed two Mozart arias and a Britten solo How Sweet the Answer.’

‘Sophie Morris joined the choir for There is a Balm in Gilead, and a beautiful delivery of Nun’s Chorus (Strauss), where soprano obligato soared secure and true above the choral harmonies. Morris also performed impressively with a bracket of songs accompanied by Tom McGrath.’
 

'The 10 tracks recorded in this debut album were recorded at the University of Otago's Albany St recording studios (with local musicians backing). The disc will be available in stores and online late next month. Classical fans could prefer bigger emphasis on serious works, but Morris now has her eyes on the spotlights of show business (after starring in Grease and many other local productions). "Middle of the road" listeners with catholic tastes also can enjoy light and popular music and will appreciate here a great soprano voice, nicely in tune. Morris was aptly described as an "ascendant star" when she sand Dvorak's Song to the Moon in ethereal fashion at a recent Knox Church concert. She has earned a bachelor of music (first-class honours) degree in classical voice performance from Otago University, topped by a master's of music (with distinction) in contemporary voice performance (in addition to a B.Com). After years of classical training, Morris diversified into classical crossover and musical theatre, and shows her versatility and style in both styles, a rare "ground-breaker". The CD salutes classical tastes with Adam's O Holy Night and Morricone's Nella Fantasia as final tracks. Preceding items include Andrew Lloyd Webber's Don't Cry For Me Argentina and other well-known songs. Morris' performance with pyrotechnics of Girl in 14G (composed by Jeanine Tesori) is a real jazzy joy. Other tracks are Meadowlark, It Might As Well Be Spring, Love Never Dies, The Light in the Piazza, Another Life and Stars and the Moon. Verdict: True stage voice. A star in the making.'