MATILDA
“[Matilda] finds a champion in the young teacher Miss Honey (Ashley Fox Linton), a caring but timid soul who recognizes Matilda’s genius and resolves to stand up for her.
The show, though, needs a little sweetness, and the velvety-voiced Linton’s eventually heroic Miss Honey is all of that; she and the appealing Shirley Johnston as the story-loving local librarian help give the grown-ups a good name.”
-James Herbert, Pacific San Diego
“While the story is about Matilda, it is just as much — if not more so — about Miss Honey, a sweet young woman who due to her upbringing is timid, but really wants to improve Matilda’s life.
Linton’s characterization of Miss Honey is as sweet as her name. She is sympathetic, lovable and the teacher’s inner struggles are evident in “Pathetic,” “This Little Girl” and “My House.”
– Elizabeth Marie Himchak, San Diego Union Tribune
“Linton is as sweet as her characters name.” – E.H. Reiter, Broadway World
HONEYMOON IN VEGAS
“Lead couple Will Collyer and Ashley Fox Linton have been paired in so many MTG shows that their Jack Singer-Betsy Nolan romantic relationship rings particularly true, his glorious tenor soaring in “I Love Betsy!” and “Isn’t That Enough” and her exquisite soprano proving equally stratospheric in “Anywhere But Here” and “I’ve Been Thinking,” four of Brown’s melodious best.” – Stage Scene LA
“Jack (a winning Will Collyer) feels he is under a curse from his deceased (for 10 years) mother Bea (a hilarious Roberta B. Wall) who pleaded on her death bed “Never Get Married.” Even though Jack has been dating too-good-to-be-true schoolteacher Betsy (the always delightful Ashley Fox Linton) and declares “I Love Betsy!” to all of NYC in the opening number, he panics when buying an engagement ring at Tiffany’s.” – Haines His Way
YOUNG FRANKENSTEIN
“Ashley Fox Linton all but gives off sparks in her oh, so sophisticated turn as Frederick’s “adorable, madcap, high-society Fiancée “Elizabeth”. What a voice this lady has—and what money-notes she hits while adeptly using it! Bedecked from head to toe in shocking red, she feigns to cringe when her intended tries to kiss or hug her adieu for fear of having her ‘Voguish’ couture disarranged.
With the buoyant voice of a seasoned Broadway-Belter and a humongous personality to match, her appearance in the first act may be brief, but she certainly makes it memorable while performing ‘evasive action’ in the midst of their ‘bon voyages’ at a ship’s dock. Launching into her number “Please Don’t Touch Me,” she entices “Frederick” with some fairly saucy and suggestive promises—so as long as she doesn’t have to get in any way close to him. Later in the second act, when she shows up in the castle’s main entry at the most inopportune time, she’s had the audacity to bring along her lavish entourage—“Marcia”, “Sasha”, “Masha”, “Basha”, and “Bob”–who all fork over some mean counter obbligato for her re-introductory number called (not surprisingly) “Surprise!”
Next, Linton scores more prodigiously than her previous outings–pulling out all the stops for the passionately over the top “Deep Love”. After “Liz” has been carried off by the monster she totally raises the roof making this 11 O’Clock number an unforgettable and near-operatic climax to the entire show.” – Bucking Trends
“Linton eschews her customary blonde-next-door persona to make for a fabulously ditzy, deliciously self-centered russet-tressed Elizabeth.” -LA Stage Scene
“Then comes Ashley Fox Linton as Frederick’s “adorable madcap fiancée.” Linton plays her as a 1930s glamour-puss in “Please Don’t Touch Me.” She returns, fortunately, in Act 2 to fall for the 7-foot-something Monster, who gives her “deep, long, firm love.” -LA Daily
“Elizabeth, who earlier cautioned fiancée Frederick to “Please Don’t Touch Me” arrives in time to be carried off by The Monster whose touch she craves after experiencing “Deep Love” with him. Linton plays her society and sexual foibles with considerable élan.” – Haines His Way
“Ashley Fox Linton is stunning as Elizabeth and really pours out her feelings in “Deep Love.” – Broadway World
SYLVIA
“Our eyes are drawn to Linton every moment she is on stage. For those old enough to remember, Linton reminds one of ditzy actress Sue Ane Langdon, who, in dozens of television sitcoms and films in the 1960s, played sexy characters who did not realize they were sexy. Linton is skilled enough to sublimate her femininity and stick to playing a dog, “chewing the scenery” in the most literal sense, but we can’t help but notice how adorable she is in doing so. She barks (“hey, hey, hey, hey!”), cuddles up with Greg, strains at her leash (which she holds in her hand), and crawls around on all fours, while we watch Symons carefully to make sure he is treating her like a dog and not the cute blonde that she is. (In a talkback session after Wednesday’s show, Linton revealed that she studied her own dog’s mannerisms for clues on how to play Sylvia).” – Broadway World
“An outstanding cast makes all of this fantasy remarkably cogent. Ashley Fox Linton as the incorrigibly audacious Sylvia wins hearts by leaps and bounds, at least Greg’s and that of the audience, which on opening night obviously couldn’t get enough of the outrageously cute pup. At each new doggy personality trait displayed, theater-goers were nodding and nudging each other with recognition of the crazy appeal of a pup. Linton gave them lots to savor as she romped through the role.”
“With such perfectly cast actors and astute direction, this “Sylvia” would be totally engaging with almost no scenery. Cedar, Linton, Surdyke and Symons make the fantasy come alive, the lines resonate with wit and the subtle truths shine.” – Ventura County Star
“There’s never been a romantic triangle quite like the one that propels A.R. Gurney’s Sylvia, now getting a cheer-worthy Rubicon Theater revival with an irresistible Ashley Fox Linton as the canine homewrecker who gives this alternately hilarious and heartstrings-tugging romcom its name.
Stephanie A. Coltrin’s couldn’t-be-better cast will have you laughing one minute and wiping away tears the next.
…particularly with a revelatory Linton proving that not only is she one of SoCal’s brightest musical theater stars, she can steal scenes right and left without (hardly) singing a note. Whether wagging her perky behind, sniffing at strangers, barking “Hey! Hey! Hey!”, scratching at fleas, or experiencing the thrill of being in heat (“I just wanna hump!”), Linton is perky perfection with a stevedore’s mouth.” -Stage Scene LA
DO I HEAR A WALTZ?
“Ford and Linton could not be better, or better (mis)matched, as a young couple whose all-American good looks hide a not-so-perfect marriage.” – Stage Scene LA
“Zachary Ford and Ashley Fox Linton, as the troubled younger couple, shine with Sondheim’s tart lyrics to “We’re Gonna Be All Right.” – Rick Talcove
“Sondheim’s ingenious lyrics were delightfully on display in Ford & Linton’s paean to a troubled marriage, “We’re Gonna Be All Right.” -Rob Stevens
BONNIE & CLYDE
“Leads Ashley Fox Linton and Will Collyer could not have made for a more superbly acted and sung titular pair, with the added bonus of romantic stage chemistry honed in Sweet Smell Of Success and Death Takes A Holiday, to name just two of their recent MTG couplings.” – Stage Scene LA
“Still, if there are any vocal performances audiences will be recalling in days to come, it will be those by leading ladies Linton and Simmons, including their C&W-hit-potential duet “You Love Who You Love,” Simmons’ “That’s What You Call A Dream,” and Linton’s “How ‘Bout A Dance,” topped by arguably the most gorgeously tear-inducing song in recent Broadway memory, “Dyin’ Ain’t So Bad,” sung to perfection in Linton’sincomparable soprano.” -Stage Scene LA
THE LAST FIVE YEARS
“Linton, whose uncanny soprano can evoke goose bumps, also uncorks a Broadway-caliber belt when needed.” –LA Times
“I can’t help thinking that Linton is precisely the “Shiksa Goddess” Jason Robert Brown had in mind when he wrote Cathy back in 2001. Not only is she an ideal, blue-eyed-blonde physical fit for the role, she has the glorious soprano and the dramatic/comedic chops to rock the part as sensationally as it’s ever been rocked before.” – Stage Scene LA
“The story is familiar — boy meets girl, boy gets girl, boy and girl drift apart — but the way it is told is quite creative. Jamie (Louis Pardo) tells the story of their romance, marriage, and breakup in chronological order, while Cathy (Ashley Fox Linton) gives her version starting at the sad ending and concluding at the giddy beginning. (They have one extremely moving scene together in the very middle.) With barely any dialogue, all the information is conveyed through clever, character-revealing songs.
Well, not quite all: There are also the extremely expressive faces, bodies, and voices of the two actors. Under the direction of Stephanie Coltrin, they beautifully convey both the attraction that pulls their characters (a successful novelist and an aspiring actress) together and the deeper psychological issues that drive them apart. They’re both very funny and, when appropriate, raw and vulnerable. The way the show is structured, we understand the dynamics of their failing relationship better than they do, which makes the situation all the sadder. Their lack of stage time together ultimately becomes a metaphor for a marriage in which the parties talk past, rather than communicate with, one another.” –Santa Barbara Independent
THE SWEET SMELL OF SUCCESS
“Scenie-winning Musical Theatre Star of the Year Ashley Fox Linton once again demonstrated charm, pluck, and her gorgeous soprano pipes as Susan.” – Steven Stanley, LA Stage Scene.
“Ashley Fox Linton was incandescent as Susan, the sister looking for love and an escape from J.J.’s overbearing presence.”
-Rob Stevens, Haines His Way.
“The lead roles are in exceptionally fine hands, what with Sloman’s gripping portrayal of the ruthless yet charming power player J.J., Ford’s perfectly balanced take on the manipulative and desperate loser Falcone, Linton’s sultry and alluring Susan, and Collyer’s charismatic turn as the hot young talent caught up in the intrigue.” -Les Spindle, The Edge.
“As romantic pawns in this deadly power struggle, Will Collyer’s up-and-coming singer Dallas and Ashley Fox Linton’s Susan -JJ’s sheltered but aware younger sister, are vocally strong and dramatically effective.” -Rick Talcove, B’Nai Brith Life
BUSKER ALLEY
“Ashley Fox Linton shows off delightful comedic chops as self-centered starlet Elaine Claire.” -Steven Stanley, Stage Scene LA.
CITY OF ANGELS
“Ashley Fox Linton seductively sells “Lost and Found” wearing only a precariously attached bed sheet.” – Rob Stevens, Haines His Way.
“Linton, these days L.A.’s busiest concert staged reading star bar none, sizzles and sparkles as City Of Angels’ pair of teen temptresses, warbling Mallory’s seductive “Lost And Found” with nothing on but the sexiest sheet in town.” -Steven Stanley, Stage Scene LA.
‘S WONDERFUL
Click here for Gracenotes interview with Ashley Fox Linton & Damon Kirsche.
“The production reunites the enchanting Linton and the oh-so versatile Skowron in their fourth MTW outing (following Sunset Boulevard, Little Me, and Carnival), allowing the duo to show off triple-threat talents few can match.” -Steven Stanley, Stage Scene LA.
“Music lovers adore all these songs…and it won’t take you long to warm up to these thrillingperformers who sing them. The delectable Johnson, Kirsche and Skowron are joined by the petite, pretty Ashley Fox Linton – also a lovely voice – as Leslie.” -Don Grigware, Grigware Reviews.
CARNIVAL
“Director David Lamoureux solves problem number one with the incandescent Linton, who follows leading roles in Reiner Reading Series’ Little Me and Call Me Madam and Musical Theatre Guild’s Death Takes A Holiday, with her most magical performance of all as Lili, every bit as enchantingas her film and Broadway predecessors and with a soprano as clear as crystal.” -Steven Stanley, Stage Scene LA.
“In the MTW Reiner Reading production the lead parts are played by Ashley Fox Linton (Lili), who fits the part like a glove…” -Shirie Gottlieb, Gazettes.
THE PRINCE AND THE SHOWTUNE: A TRIBUTE TO HAROLD PRINCE
“Ashley Fox Linton, a lovely blonde with an even lovelier voice, added adorable comic mimicry to “Lovely” from 1962’s A Funny Thing Happened on the Way to the Forum, produced by Harold Prince for which he won the Tony Award for Best Musical.” -Shari Barrett, Broadway World.
“Ashley Fox Linton excelled in a little-known Kander tune(written prior to his works with Ebb), “There’s a Room in My House,” which she paired with another K&E tune “A Quiet Thing” from the early Liza Minnelli vehicle, “Flora the Red Menace.” She switched gears magnificently for Sondheim’s ironically bittersweet “Another Hundred People” from “Company.” Her singing matched the title of the song in the satiric “Lovely” (from Sondheim’s “A Funny Thing Happened on the Way to the Forum”). -Les Spindle, Edge Los Angeles.
“A recent discovery for me was the multi-talented Ashley Fox Linton here being winsome and funny in “Lovely” as well as delicate and soulfulin “A Quiet Thing,” first introduced by Liza Minnelli. Linton also effortlessly made her way through Sondheim’s bullet train of a song, “Another Hundred People.” -Rob Stevens, Stage Happenings.
DEATH TAKES A HOLIDAY
“Of course he immediately falls in love with the lively and vivacious Grazia (the stunning Ashley Fox Linton who possesses an amazing voice) and she falls for him. Complications ensue as her fiancée and family react.” – Rob Stevens, Stage Happenings
“One can hardly deny the beauty of Grazia’s “In The Middle Of Your Life” and “How Will I Know?” or Death/Nicolai’s “Why Do all Men?” and “Alive!” or their voices blended in “More And More,” particularly when those voices belong to Callaway and Linton, among our finest leading players.
Yeston spreads the musical wealth around, giving Fidele and Vittorio the jaunty “Death Is In The House,” Dario the infectious “Life’s A Joy,” Alice the catchy “Shimmy Like They Do In Paree,” Daisy and Corrado the passionate “What Do You Do?”, Grazia, Daisy, and Alice the exquisite three-soprano harmonies of “Finally To Know,” and Evangelina and Dario the wistful “December Time”—sung gloriously by some of MTG’s best and brightest stars.
As for the cast, granted a mere twenty-five hours of rehearsal time, they are—both separately and as a whole—the crème-de-la-crème of Los Angeles musical theater artists.” -Steven Stanley, Stage Scene LA
CALL ME MADAM
“As for Call Me Madam’s young romantic leads, they don’t come any more lovely or charming than Linton and her handsome and equally charming partner in bicultural love Lamoureux, their duet of “It’s A Lovely Day” proving every bit as enchanting as you’d expect from this pair of rising young stars.” – Steven Stanley, Stage Scene LA
A KRITZERLAND CHRISTMAS III
“The no-muss, no-fuss presentation, superbly helmed by pianist-musical director Richard Allen, immediately set a jubilant tone with a little-known but jaunty number called “Be a Santa,” from Jule Styne’s 1961 Broadway musical “Subways are For Sleeping.” The number, a genuine charmer, was crooned as a duet by buoyant Dan Callaway and radiant Ashley Fox Linton. Linton returned for a lovely number called “Winter Was Warm,” from the classic 1962 animated television special “Mr. Magoo’s Christmas Carol.” This show was written by the songwriting duo for “Funny Girl,” Styne and Bob Merrill. Linton also offered a warmly resonant rendition of the poignant Carpenters song, “Merry Christmas Darling.” -Don Grigware, Edge-Los Angeles.
LITTLE ME
“It’s hard to imagine anyone more perfect for the role of Belle than Ashley Fox Linton, as delightful a comedienne as she is a powerhouse singer (whether legit or in Broadway belt mode), as her gorgeous rendition of “Poor Little Hollywood Star” made amply clear.” -Steven Stanley, Stage Scene LA.
Kritzerland’s THE STORY GOES ON: The Songs of Maltby & Shire
“Ashley Fox Linton has a lovely voice and gave “Crossword Puzzle” from Starting Here, Starting Now the ingénue treatment early in the show. She was cute and the audience appreciated her self-deprecating humor. Her second number “The Bear, The Tiger, The Hamster and the Mole” – a song that had been cut from Baby along with the character who sang it before being put into Closer Than Ever – showed off her character beltand I could hear the makings of a dynamite Ado Annie waiting to happen. Linton also closed the night with “The Story Goes On” from Baby, a song that has special meaning for Kimmel since it is the one that introduced him to Liz Callaway.” -Ellen Dostal, Broadway World/ Musicals in LA.
SUNSET BOULEVARD
“Linton is precious and real as Betty.” – Don Grigware, Broadway World.
“Linton is a thorough delight as Betty, and both are tops vocally.” – Steven Stanley, Stage Scene LA.
“Linton stands out as Betty.” -Shirle Gottlieb, Gazettes.
“Ashley Fox Linton is warm and ingratiating as Betty, the ingénue Joe truly loves. Linton makes it clear that Betty passionately loves the movies and that her passion for screenwriting draws her to Gillis.” – Jonas Schwartz, TheaterMania.
“Sweeney Todd” at Cygnet Theatre.
SWEENEY TODD
“Ashley Fox Linton brings loveliness and a superb soprano to the role of Johanna.” – Steven Stanley, Stage Scene LA
“Cygnet has cast some of the best voices in town to match those 30-odd musical numbers .
Strong performances stack up faster than the body count: Ashley Fox Linton with her pretty vibrato as Todd’s lost daughter, Johanna… ” – James Hebert, San Diego Union Tribune, Cygnet’s “Sweeney” Much More Than a Cut Above
“Ashley Fox Linton is the angel-voiced Johanna.” – Don Braunagel, San Diego Arts, A Slice of Revenge, This Time Served Hot
“The younger actors are phenomenal. Ashley Fox Linton gives Johanna a sensibility that makes her an equal partner with her love Anthony.” – Steve Heyl, EDGE Los Angeles, Full Article: Sweeney Todd
“…and Sweeney’s beautiful young daughter, Johanna (lovely, golden-voiced Ashley Fox Linton)” – Pat Launer, San Diego News Network, Full Article: ‘Sweeney Todd’
“Both Ashley Fox Linton and Jacob Caltrider as Johanna and Anthony Hope are more than convincing as the young couple gaga with each other.” – Carol Davis, San Diego Examiner, San Diego Examiner: Cygnet Theatre Honors Sondheim in Best Possible Way, San Diego Jewish World
GOING THROUGH A STAGE:
“Belters” may “just” be a parody, but it’s set to Bernstein’s most difficult musical theater piece, and Ashley Fox Linton was up to the standards that Barbara Cook, Maureen Brennan, and Harolyn Blackwell set before her. What pin-point perfect timing Linton showed in delivering the line, “Oh, how fortunate I am to have one more use for a diaphragm.”” – Peter Filichia, TheatreMania
BABY:
“A musical powerhouse and thoroughly convincing actor. As high- spirited young Lizzie, Ashley Fox Linton (is) adorable and irresistible. She is full of spunk and determination…vocally strong.” – Pat Launer, San Diego Theatre Scene
“Charming, spirited and gifted…a fine set of vocal chords, endless energy and good looks.” – Carol Davis, Arts in Review
“…the vocally confident, dramatically lively Ashley Fox Linton plays Lizzie.”
“She proves believably happy and secure as a character and in the highest parts of her vocal range.” – Anne Marie Welsch, Union Tribune
“…with a voice reminiscent of Bernadette Peters.” -Jean Lowerison, Gay and Lesbian Times