MAKE ME A HOURI, LA MAMA THEATRE, 2019
"Always a striking presence on stage..."
-Cameron Woodhead, The Age
HUNGRY GHOSTS, MELBOURNE THEATRE COMPANY, 2018
"With so many international students in our city, these felt like people you pass in the street everyday and are coolly acted by three young cast who resemble Ariel from Shakespeare’s The Tempest being cheeky, flexible and curious, on the cusp of adulthood. Their manner was relaxed and informal, like the good global citizens they are but the script points to the constraints of family and home country problems as voices inside their heads. The core of this work is alienation. Dislocation, inauthenticity, fragmentary realities and the slippages of identity."
-The Plus Ones
"These scenes form a fragmented quest to imagine the elusive truth behind the tragedy, and are delivered in a nimble performance style layered with choric effects by a three-strong ensemble (Emina Ashman, Jing-Xuan Chan and Bernard Sam)."
TOO READY MIRROR, DAREBIN SPEAKEASY, NORTHCOTE TOWN HALL, 2017
"Too Ready Mirror is a clever play, successfully showcasing the subordinate roles woman subconsciously play into and that they can’t escape. They are each trying to break free from men in powerful positions, victims of the male gaze. All three scenarios were equally intriguing."
- The Plus Ones
ROBERTO ZUCCO, LA MAMA AND ALLIANCE FRANÇAISE DE MELBOURNE, 2016
"It's all very French, with an Australian inflection that doesn't always gel but doesn't get in the way of strong performances, including Michael F. Cahill (who roves from hulking paterfamilias to lost old man), and Emina Ashman and Belinda Misevski, both magnetic as the two turbulent sisters."
"Despite her feistiness, scenes of Ashman’s disempowerment were disturbing, recalling the perception of women as male property in some parts of the world".
TALES OF A CITY BY THE SEA, LA MAMA COURTHOUSE, 2016
"With a textured performance, Ashman features in a number of these scenes. In one, Lama chooses to make sandwiches whilst bombs fall so that her family can feed the soon-to-be homeless. In another, she accepts the practicality of marriage, and its role in a personal statement of resistance. These scenes stand out for having a feeling of uncluttered authenticity."
-Australian Arts Review
BOCK KILLS HER FATHER, LA MAMA THEATRE, 2015
"Bock Kills Her Father is an unnerving, ambiguous drama that addresses female violence. The naive, diffident Bock (Emma Annand) has arrived on the streets of a dead-end country town, where a gang of feral young women raise hell. She falls in with the bullying leader of the pack (Marissa O'Reilly), her lesbian lieutenant (Ruby Hughes), and the easily led D'Agostino (brought to life by Emina Ashman through sharp tragic clowning)."
"Emina Ashman, as the slightly unhinged D’Agostino, captures the attention of the audience in every scene she is in. Ashman’s portrayal is a perfect combination of endearing, annoying and incredibly frightening."