DAVID: A NEW MUSICAL, 2024
“…what is done to perfection is the set design by James F. Fenton and the costume design by Ashley Soliman.” Times Square Chronicles
“The show feels very influenced by classic musicals like Kismet or huge biblical films like The Ten Commandments or Ben Hur, with its encompassing set, big sound and a multitude of sword and sandal-type costumes by Ashley Soliman.” Stage and Cinema
“James F. Fenton's scenic design, Mary Ellen Stebbins's lighting, and Ashley Soliman's costumes simply and effectively convey Old Testament imagery combining elements of Broadway-style resourcefulness and visual references to Hollywood Bible epics.” Talkin’ Broadway
“Ashley Soliman’s costumes appear to have been created on a small budget but are perfectly appropriate to the time and place.” Theater Scene
“Scenic designer James J. Fenton and costume designer Ashley Soliman deserve recognition for their creativity and efforts under what was probably a tight budget.” northjersey.com
“…James F. Fenton’s set, props by Tamara Flannagan, and costumes by Ashley Soliman evoke antiquity…” DC Theater Arts
THE CUNNING LITTLE VIXEN, 2024
“And just like that, the world of Vixen takes a vivid new shape. Marvelous as the work is, it’s deeply challenging to stage, with its combination of human and animal characters and its admixture of fantasy and reality. It can quickly turn twee… and it’s not easy to follow…The design work supported this ideally. Costumes by Ashley Soliman were delightfully inventive.” parterre box
“Then there are the characters themselves which are costumed in more humanlike ways. They move about the scenes playing with some of the animal elements but they fuse with the human characters seamlessly and it shows how humans and animals are one in nature.” OperaWire
ANGEL ISLAND, 2024
“The singers arrive in long black tulle robes, ghosts from the past. Weathered shirts and skirts by designer Ashley Soliman are soon revealed.” Slippedisc
A MIDSUMMER NIGHT’S DREAM, 2023
“Let us not fail to credit the excellent costume design of Ashley Soliman. The fairies were fantastical with extravagant attire whilst the Athenians were costumed in contemporary streetwear with the rustics in contemporary workmen's attire. The Duke and his bride were appropriately elegant.” Voce di meche
“Ashley Soliman’s costumes looked nicely fanciful for the fairy characters and contemporary for the humans…” Opera with Opera News
“Also offering some visual interest is costume designer Ashley Soliman’s two different outfits for Sun in each scene, one coldly formal, the other stylishly informal.” TheaterMania, 2024
"(Elizabeth) Sun is helped by costume designer Ashley Soliman’s attention to her attire; casual in Act 1, soft tones, robin’s egg jeans jacket, changing to an absolute killer dark brown pin-stripe suit and heels for Act 2. It’s wonderful to see such a perfect match of designer and performer, and it’s precisely what you need for the transition of this play from podcast audio to live and onstage.” Broadway World, 2023
YOUR NAME MEANS DREAM, 2023
“In Ashley Soliman’s costume design, clothing evolves along with the characters’ changes. Stacy’s initial short, tight, sexy outfit — did Singularity perhaps recycle it from her sex worker days? — gives way, in the second act, to a more comfortable denim coverall. Aislin first appears in a tatty, who-cares-what-I-look-like, shirt and shorts, but by the end, anticipating a possible date, she wears a sweet white dress.” DC Theater Arts
DOUBLE HELIX, 2023
“Add in Ashley Soliman's gorgeous costumes and Mike Billings' atmospheric lighting and you will see that this is a visually stunning production.” Broadway World
“They discovered that (Rosalind) Franklin loved fashion, which led costume designer Ashley Soliman to dress (Samantha) Massell in smart tailored pieces of the era. “I love that she’s this lady in the lab, uncovering the secret of life but also she looks fabulous,” Massell said.” American Theatre
“James (Watson) is portrayed by Max Chlumecky as arrogant, entitled fame-seeker who costume designer Ashley Soliman dressed like a rich little boy. No other character wears shorts, knee-high gym socks, sneakers and an oversized cardigan to work, least of all his partner Francis who is always looking dapper in a slim, brown suit.” Dan’s Papers
LE PORTRAIT DE MANON / ANGÉLIQUE, 2022
“A large chorus had been costumed as French stereotypes of ‘20s vintage, and they observed the action with the fascinated pettiness of any concierge. Ashley Soliman had great fun with the costumes and props, and if they distract from the central activity, their distractions entertain.” parterre box
“The Ibert piece Angélique was a real audience pleaser with plenty of imaginative eye candy…The costumes were droll and the choreography clever.” Voce di meche
FAUST ET HÉLÈNE / L’HEURE ESPAGNOLE, 2022
“Ashley Soliman’s costumes are timeless for the Boulanger work – the men are shirtless and barefoot in a variation on dhotis or male harem pants while Hélène is in an orange gown with a virtually endless train. For the Ravel, Soliman’s costumes are contemporary with the mezzo once again in orange, this time silk shorts and a jacket, with the tenor playboy poet in jeans and a shirt open to his waist, missing only the de rigueur gold chains. The muleteer has been updated to a UPS delivery man in shorts while the banker king is in a suit. Torquemada, the clockmaker, is in a classic Spanish linen outfit for a middle-aged man.” Theater Scene
LA TRAVIATA, 2022
“Bright costumes by Ashley Soliman suggest the 1980s…” The Dallas Morning News
“Ashley Soliman’s costumes likewise colorfully and dutifully represented a consciously casual mega-rich party set.” Onstage NTX
THE RAKE’S PROGRESS, 2022
“…Ashley Soliman’s evocative costumes furthered Muller’s themes… The passage of Shadow’s year and a day was denoted by Anne’s seasonal outerwear and Tom’s ever more decadent loungewear, while Shadow, in his tidy charcoal suit and gray silk tie, represented the allure of corporate greed.” Opera News
SWEET POTATO KICKS THE SUN, 2019
“Baritone (Dominik) Belavy, who played the often-exasperated hummingbird 89… kept perfect composure as he ran around the stage in an undeniably silly beanie with a long beak (probably the finest piece among many fine costumes from designer Ashley Soliman.)” Santa Fe Reporter
“Stage director John de los Santos and his design team (Liliana Duque Piñeiro, scenery; Ashley Soliman, costumes; and Noele Stollmack, lighting) created an ingenious, flexible, and generally attractive environment.” Pasatiempo
LE COMTE ORY, 2016
“The hilarious production—directed by John de los Santos and including a chorus of drunken, Twister-playing men wearing pink nuns’ habits (Ashley Soliman did the wacky contemporary costumes)—was perfect for this completely silly opera.” Wall Street Journal
“…under the inventive eye of director John de los Santos and costumed by Ashley Soliman, ORY flew through the air with the greatest of ease.” Broadway World
"...kudos to John de los Santos. His direction, coupled with Ashley Soliman’s costumes made for a fun evening." Schleppy Nabucco's
"Decked out in Ashley Soliman’s fanciful hot pink suit abetted by the randy Raimbaud of Steven Eddy, the disguised hermit twinkled slyly but harmlessly." parterre box
"The male chorus, dressed in pink habits, supported a delightfully pervy Ory (Thorsteinn Árbjörnsson), who channeled the Holy Spirit of Terry Richardson in knockoff Ray-Bans and a pink mustache." The Village Voice
“The Count held his prayer services sporting a shocking pink business suit hand-painted like the medieval Tres Riches Heures Du Duc de Berry with the Countess in a mob wife’s skintight black lace dress and spike heels." Observer
"Beware the Chupacabra strives on the visual appeal. Costume designer Ashley Soliman and scenic designer Kyle O’Connor are the true soul of this musical. Their designs are cohesive and stunning. Soliman’s use of color is rewarding. She keeps the city world quite dreary with subtle bursts of color. This allows the color within the sepia-toned Mexico to radiate... With Alberty and De Gre serving as co-directors, it’s inevitable that it was difficult to eliminate any material. But to their credit, they presented a very clear and cohesive vision. The style was consistent and interesting." Theater in the Now
"Ashley Soliman’s richly detailed costumes play a crucial role in character development, and are professional enough for a commercial Off Broadway production, let alone a Fringe show." Theatre Is Easy
WHISKEY PANTS: THE MAYOR OF WILLIAMSBURG, 2015
“Yes, look at these photos. Thats what drew you in right? Someone did a great job designing Whiskey Pants: The Mayor of Williamsburg, a contemporary opera/musical about a post-apocalyptic Williamsburg where everyone drinks whiskey to forget that they let their dreams die. That someone is costume designer, Ashley Soliman, a talented visionary designer who gives this world a sort of post-apocalyptic steam punk feel, with waistcoats patched together from various pieces of rags and canes made from Makers Mark wax seals…Yes the designers had a field day with this show and its worth it to see for that aspect alone.” Off The Beaten Track Theater
“Somnambular citizens shuffle around… dressed in inventive costumes by Ashley Soliman. The attention to detail across all of the design departments is phenomenal. Each character, including the chorus members, are dressed and groomed in a uniquely creepy and beautiful way, reminiscent of Tim Burton’s Sweeney Todd on steroids.” On Stage
"Dedication and commitment is something that truly should be rewarded in art. Whiskey Pants excelled with their costumes. The colorful and eclectic design was something that was a truly redeeming quality. It didn’t matter that period was nonexistent because it was stunning to look at. The costumes and makeup fit the individual strikingly." Theater in the Now
“The costumes (designed by Ashley Soliman) and the makeup (designed by Kate Marley) are stunning, providing an artistic element that transports the viewer into a visually captivating world which is simultaneously other-worldly and frighteningly familiar.” Theatre Is Easy, 2015
"The other highlight of Fatty Fatty No Friends is the masterful costume and make-up design by Ashley Soliman and Kate Marley, respectively. From the looming stilt-walker inner demons to the cast of children all color-coded into factions with cartoonish hats and hair bows, depicting stereotypes come to life, these outfits add an extra dimension of surreality to the piece. The smears of facepaint and drawn-on pink cheeks and freckles add to that cartoon quality, while even the orchestra are dressed in the demonic black and white of Tommy's inescapable world." CHARGED.FM, 2014
“The onstage band and the supporting ensemble are dressed in Dresden Dolls-like Brechtian-punk garbs (impressive costumes by Ashley Soliman) and makeup (haunting makeup by Kate Marley).” NYTheater Now, 2014