“Pippin’s step-mother played by Ashley DeLane Burger and her son Lewis played by Andrew Burton Kelley are very attractive performers and they are always worth watching in the court scenes. They both connect personally with the audience and Burger even worked in a fun acknowledgment of a particularly vocal group of the audience.”
"Ashley DeLane Burger’s Fastrada comes across as a cross between a deranged Tinkerbell and seductress Lola from Damn Yankees, spinning and pirouetting and undulating through “Spread a little Sunshine”, and keeping husband Charlemagne under the control of her vividly painted thumbnail."
- Lisa Jarisch, Berkshire On Stage
“Ashley DeLane Burger’s choreography is smooth, stylish, at times whimsical, and executed with supple grace.”
-Jeffrey Borak, Berkshire Eagle
"Choreographer Ashley DeLane Burger turns a deft hand…and multiple feet…to the movement of the piece. Particularly noteworthy was her work in “12 Days to Christmas” , which begins almost as a sedate, contained, refined waltz, until finally degenerating to a frenetic, almost totally chaotic gavotte as December 24 draws nigh and shoppers reach their personal eleventh hour. Twirling, whirling and dashing about with precision and confidence on the extended but still relatively limited stage, the entire company never missed a beat."
- Lisa Jarisch, Berkshire On Stage
"Barry gives us stage pictures of his people, like snapshots from an old-fashioned camera. His work with choreographer Ashley DeLane Burger is seamless which is lovely as her angular formations and body contortions never jar with Barry's simpler, more structural people."
- J. Peter Bergman, Berkshire Bright Focus
"The choreography and movement feel organic to the songs they accompany, as opposed to merely being something to keep action on the stage. A prime example is in a factory where felt is made. The heat, danger and repetitive monotony of the work becomes visible, almost palpable; it feels real – and like an awful way to make a living."
- Steve Barnes, Houston Chronicle
"..greatly aided by the imaginative choreography of Ashley DeLane Burger. The highpoints are “Trucker,” in which Burger creates the rhythms of high-speed highway hauling with ensemble and office chairs; and “Millwork,” in which the cast’s mechanized movement makes real the grueling drudgery of the assembly line."
- Dan Dwyer, The Berkshire Edge
"The visual, spliced with the choreography of dancer Ashley DeLane Burger, is a stunning and twisted mechanism that erupts from the inside out, allowing the creative to find his footing in the shadow of such a pop titan. Even so, he manages to soar through starkly lit alleyways that are etched with vibrant graffiti and grim and scorch his own avenue with sinfully delicious dance moves through the annals of pop history."
- Jason Scott, B-Sides & Badlands
"Choreographer Ashley DeLane Burger assists with imaginative and winning movement."
- Fred Sokol, Talkin' Broadway
"[Neal] Kowalsky, and [Ashley DeLane] Burger, used these musical moments to move their characters into those classic positions that make a great musical a great experience, both amusing and moving."
— J. Peter Bergman, Berkshire Bright Focus
"Ashley (Burger) really took the reins choreographing this one. She would start rehearsals with a complete routine in mind and we’d tweak together along the way. I direct from my gut and my visuals NEED to evoke a feeling. I try to communicate my vision as best I can, and Ashley helps me execute it technically."
- Corvyx, YouTube Sensation
"Everyone can see themselves somewhere in the show," said choreographer Ashley DeLane Burger, who recently helped Barry stage "Working" at Wagner College in New York. "Even though it was written [in the `70s], it still feels like issues we are dealing with today."
The Unicorn's open stage and amphitheater seating offers unique challenges and opportunities for Kentucky-born Burger, debuting at BTG fresh from choreographing "Sunset Boulevard" at nearby Mac-Haydn Theatre in Chatham, N.Y.
"Seeing it above and around gives a 3D experience to the show," she said. "You get a much greater perception of the human body than a flat-facing theater. And small gestures are more effective."
Authentic vocational movements inform the show's dance routines, which are each "stylistically different," she added.
Burger is well versed in the world of occupational activity. Trained in movement analysis, she observes professionally "why factory workers do the things they do."
"Adding the expressive quality to make it more theatrical has been really fun," she said.