“Ashley Kay Armstrong gave a cleverly nuanced performance as a neglected, denigrated, yet perky suburban housewife...Armstrong matched Bernstein’s wit in singing about a formulaic movie musical, ironically called “Trouble in Tahiti.” Not only were her vocals varied and commentating, but Armstrong amusingly moves her arms and hips, undulating to the Hollywoodish tropical rhythms her character ridicules.”
— Neal Zoren, Community News
“As Butterfly’s servant Suzuki, mezzo-soprano Ashley Kay Armstrong had mastered the art of being perfectly still and subservient yet was a fierce gatekeeper to Butterfly. Armstrong sang with a rich resonant sound throughout the role, and the Act II “Flower Duet” with Butterfly showed the voices of these characters to be perfectly blended.”
— Nancy Plum, Town Topics
“Vocally, the company is a gem. Each voice is clear and expressive. The singers, to a person, create a purity of sound that enhance Puccini’s melodies and make harmonies, particularly between [Ashley Bell and Ashley Kay Armstrong] playing Butterfly and Suzuki, a delight...Ashley Kay Armstrong exudes dedication as Suzuki, who speaks out to Butterfly and appeals to others to try to save her mistress from the sadness that comes from her misunderstanding and faith in a happy conclusion. You can see the burden Suzuki has, particularly in scenes when Suzuki must watch stoically and dispassionately as reality unfolds or Butterfly is being harmed in ways Suzuki, as a servant, cannot intervene to prevent.
”
— Neal Zoren, Community News
“Saturday night’s cast featured Evan Bravos (as Hannah Before) and Ashley Armstrong (as Hannah After). Bravos played the role of Don Giovanni in HPAF’s 2017 production, and he and Armstrong performed “As One” together with Opera Santa Barbara. Their HPAF performance was exquisite…the singers moved flawlessly as individuals and in mirror image, “as one.””
— Rona Lee, Big Island Music Magazine
“The show plumbed emotional depths seldom reached by even the most famous grand operas. Evan Bravos, as Hannah Before, and Ashley Kay Armstrong, as Hannah After, delivered riveting performances that kept the audience fully engaged throughout the evening.”
— Charles Donelan, The Independent
“Ashley Armstrong lights up the stage whenever her Feisty Meg takes center Stage ”
— Dianna Nollen, The Gazette
“Performers Ashley Kay Armstrong (Hansel) and Kelly Curtin (Gretel) sing and dance their roles with an engaging combination of talent, skill, and exuberance. Hansel is especially strong at conveying the mischievousness of the young boy which leads the brother and sister to run away and become lost in the woods. ”
— Mark Dreisonstok, Maryland Theatre Guide
“Ashley Kay Armstrong was a bouncy and effulgent teenage Olga”
— Maria Nockin, Broadway World
“A marvelous Lucrezia”
— Mark Campbell
“We also got to especially revel in Ashley Kay Armstrong, first feeling her star power that she brought to her performance in the title role of the LUCREZIA operetta that followed. While all the cast did a more than adequate job, both Armstrong’s role and performance made her the standout.”
— Amy Munice, Picture This Post
“The standout singer here is Armstrong, who wraps her velvety voice around Lucrezia’s sexy aria most charmingly, making us root for the wily wife who gets what she wants in the end, amorously as well as financially.”
— John von Rhein Chicago Tribune
“Ashley Kay Armstrong was aptly cast as Lucrezia, her charismatic presence and light flexible soprano making mincemeat out of the male schemers.
Ashley Armstrong delivered “At the Last Lousy Moments of Love” with comic flair and apt disillusionment. ”
— Lawrence A. Johnson, Chicago Classical Review
“As she should, Ashley Kay Armstrong, in the title role, rules.”
