of THE LION IN WINTER at Central Florida Community Arts

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"Directed by Donald Rupe, and featuring a terrifically talented ensemble, Goldman’s 1966 play about English royal family strife in 1183 continues to dazzle. [...] Gardner, as the king’s mistress, is a joy to watch, particularly in her scene with Olson where the two actresses banter beautifully." - Brad Haynes, Central Florida Scene

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"It’s the actors who make this wild ride worthwhile. These characters are a bad lot, no doubt, but the performers make them fun to watch. [...] Ashleigh-Ann Gardner cleverly conveys both coolness and passion as the mistress." - Matt Palm, Orlando Sentinel

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of TOP GIRLS at Mad Cow Theatre:

 

"Such sacrifices are at the heart of Marlene’s strained relationship with her sister, Joyce, a poor cleaning lady who is living in rural England and raising Angie, whose portrayer, Allison Piehl, captures the character’s stunted emotions and casual teenage cruelty toward her younger pal (Ashleigh Ann Gardner, very good).​" - Matt Palm, Orlando Sentinel

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of A DOLL'S HOUSE  at Central Florida Community Arts

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"For CFCArts Ashleigh Ann Gardner creates a complex Nora who radiates intelligence though isn’t above using her feminine charms to get what she wants. Her end-of-show revelation is convincing.​" - Matt Palm, Orlando Sentinel

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"And it’s a testament to the writing and acting, that it feels natural that Geniac’s character evolved into Lane’s, and likewise Gardner’s to O’Donnell’s.​" - Matt Palm, Orlando Sentinel

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of GHOST & FUNERAL PARTY  with Jeremy Seghers Presents

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"Audiences may remember Ashleigh Ann Gardner from Space, a 2016 fan favorite at the Orlando Fringe. Now the Orlando-based actor and playwright is back with Funeral Party and Ghost, two one-act plays she wrote that local theater impresario Jeremy “White Rabbit” Seghers is producing as a double bill. Gardner also directs Ghost, in which a woman is coincidentally and awkwardly reunited with a guy she ghosted after a one-night hookup. And she stars in Funeral Party, a drama about mourning that features “drinks, Chinese food, dancing, coffee” and a clandestine after-hours visit to a crematorium. That’s what we call a triple threat." - Jessica Bryce Young, The Orlando Weekly

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"When Gwen (Ashleigh Ann Gardner) was forced by Trip to touch the lifeless body, she broke down with such a wail of sorrow that cut me to the core. She fell to the floor. I have heard so many stories of the sorrow that filled the Beardall Center after families were told of the loss of sons and daughters after the Pulse Nightclub massacre. Ashleigh's performance brought that flood of sorrow back. [...] I left the theater feeling a sense of pride and joy at getting to see these two plays by a talented local playwright. The second play truly struck me to the core and the first gave me the voyeuristic satisfaction of seeing an artist open herself to find happiness." - Thomas Thorspecken, Analog Artist, Digital World

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"Orlando-based playwright and actor Ashleigh Ann Gardner has a busy few weeks ahead. [...] Two of her works will take the stage Feb. 22-25 when producer Jeremy Seghers presents the one-acts “Ghost” and “Funeral Party” as a double bill. [...] Then in March, Gardner will return to the cast of “Space,” an award-winning play from the 2016 Orlando Fringe Festival. Cory Volence’s high-tech thriller, directed by Kevin G. Becker, examines issues of trust and fear among four astronauts when something goes very wrong on an outer-space mission." - Matt Palm, Orlando Sentinel

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of SPACE at Orlando Fringe 2016

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"Copeland (Chaz Krivan), Hightower (Trini Kirtsey), Chesky (Ashleigh Ann Gardner) and Novak (Brenna Arden) share a synergistic energy that brings believability and authenticity to their characters and the situations they are rocketed into.  These are clearly well-seasoned actors; there is a maturity to their work that is refreshing to see." - Lania Berger, Orlando Sentinel

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"I loved the show. The dark vacuum of space is nothing compared to the darkness found in the heart of a human soul. A special shout out to Chaz Kriran and Ashleigh Ann Gardner, who gave particularly noteworthy performances." - Thomas Thorspecken, Analog Artist, Digital World

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"Each actor gets at least a couple of meaty monologues to chew into, thanks to an exposition-friendly "video diary" device, and all have moments to shine; the women [Gardner and Arden] acquit themselves especially well (particularly Arden), expressing a realistic range from depression to rage as they rail against their patriarchal predicament. " - Seth Kubersky, Orlando Weekly