REVIEWS
MARY POPPINS
“Rosemary Ashe, as the warty, terrifying old Nanny Andrew, is the best baddie for ages. Nanny Andrew believes in old fashioned discipline. She comes a terrific cropper” (The Daily Mail)
MARY POPPINS
“Within a splendid ensemble, Rosemary Ashe may only have one number but she makes ample impression as the 'holy terror' of a nanny Miss Andrew ” (The Stage)
MARY POPPINS
“Rosemary Ashe's terrifying, witch like nanny" (The Evening Standard)
ROBINSON CRUSOE
“To her spirited Suzanne Rosemary Ashe added an extravagantly bearded third pirate " (Opera Magazine)
THE WITCHES OF EASTWICK
“Rosemary Ashe gives a splendid comic performance as Eastwick’s bossiest, screechiest harridan” (The Daily Telegraph)
WHEN WE ARE MARRIED
“An extra layer of richness is added to the mix by Rosemary Ashes’s glorious raddled tart” (The Stage)
SPEND SPEND SPEND
“It is uncanny how much Rosemary looks and sounds like the real Viv Nicholson and she brings a real warmth to the role” (Wakefield Express)
THE PHANTOM OF THE OPERA
“The best support comes from Rosemary Ashe’s technically virtuosic and poisonously put out Carlotta” (Financial Times)
THE BOYFRIEND
“Rosemary Ashe makes a showstopper out of her richly raucous “It’s Nicer in Nice”" (Plays and Players)
THE METROPOLITAN MIKADO
“Rosemary Ashe’s Yum Yum is delightfully cockney” (The Daily Telegraph)
COSI FAN TUTTE
“Rosemary Ashe was a very pert, earthy Despina, full of backchat and knowing looks” (Opera Magazine)
FORBIDDEN BROADWAY
“Rosemary Ashe is the best on show, a versatile comedienne who acts while she sings” (Punch)
BITTER SWEET
“This production has to be seen for Rosemary Ashe who as the cafe singer Manon gives a performance of immense strength and enchantment, one which makes me long to see this production again” (International Herald Tribune)
LA BELLE HELENE
“Rosemary Ashe was as delicious, sexy and sharply humorous a Helen as you could wish” (The Independent)
THE KILLER SOPRANO
“Rosemary Ashe is a unique talent, a singer who encompasses opera, operetta, the musical and popular song with a vocal ease that is enviable” (The Stage)
THE KILLER SOPRANO CD
“She knows how to out a number across with sassiness, sizzle and spunk” (BBC Music Magazine)
CANDIDE
“Rosemary Ashe rightly steals the show” (The Spectator)
H.M.S. PINAFORE
“Rosemary Ashe was spunky and vocally assured as the soprano lead” (New York Daily News)
INTO THE WOODS
“Rosie Ashe is a splendid leading lady” (Ipswich Evening News)
THE APPLECART
“Rosie Ashe steals laugh upon laugh” (East Anglian Daily Times)
LA CENERENTOLA
“Rosie Ashe was a splendidly sluttish ugly sister” (Daily Telegraph)
NOISES OFF
“Rosemary Ashe switches effortlessly between the onstage and offstage stereotypes” (The Guardian)
LES MISERABLES
“Rosemary Ashe is superb” (Musical Stages Magazine)
ARABELLA
“Rosemary Ashe’s Fiakermilli mastered the coloratura precisely” (Daily Telegraph)
SHOWBOAT
“Rosemary Ashe sang securely and acted with pathos” (Opera Magazine)
THE ROCKY HORROR SHOW
“Rosemary Ashe plays Janet with a winning innocence” (The Stage)
OLIVER
“Rosemary Ashe is a delightful Widow Corney” (What’s On)
TROUBLE IN TAHITI
“Rosemary Ashe plays Dinah with strength and poignancy” (European Review)