Reviews
My Name is Asher Lev
Robert Hurwitt, SAN francisco Chronicle
The conflict is really internalized by Asher's mother, eloquently portrayed in the admiring, protective and worried glances and maternal admonishments of Danielle Levin when her child prodigy starts copying nudes and crucifixion scenes. Levin also ably works the other side as a cagey gallery owner and a fetching model.
David TempleTon, the North Bay bohemian
The acting—by the terrific trio of Danielle Levin, Patrick McNulty and, as Asher, Peter Stadlen—was outstanding, propelling the show on the raw force of their emotions, as the story moved from its ingeniously succinct opening to its stunner of a conclusion—lyrical, truthful and devastating.
Richard Connema, Talkin’ Broadway
Danielle Levin gives a remarkable performance as Asher's anxious mother and moves easily into the role of a nude model and other characters.
Vera Wilde
Richard Connema, Talkin’ Broadway
A '30s vaudevillian showstopping tune that involves the disastrous American premiere of Wilde's Vera, called "That's How a Show Should Go," is effervescent. Danielle Levin and Edward Brauer shine in this toe-tapping number...The cast is excellent playing various characters in this two and a half hour "alterna-musical."
Chad Jones, TheatreDogs
Two of the show’s best songs are the Russian peasant lament “Midnight in Russia” and a show-stopping glimpse into the disastrous American premiere of Wilde’s “Vera” called “That’s How a Show Should Go” expertly performed by Danielle Levin and Edward Brauer.
Grapes of Wrath
Robert Hurwitt, San Francisco Chronicle
Danielle Levin anchors the story like a cross between Dorothea Lange's "Migrant Mother" and a compassionate Mother Courage with the weary, tough but loving determination of her Ma Joad.
Pat Craig, Contra Costa Times
The actors — Michael Barrett Austin, Alex Hersler, Danielle Levin, Roy Landaverde, Emily Morrison, Rebecca Pingree, Kelly Strickland and Ryan Tasker — are first-rate, not only in the characterizations but in the pinpoint timing demanded by Tracy...
Best of PlayGround
Robert Hurwitt, san francisco Chronicle
A scantily clad beauty (Danielle Levin) ruminates on John Berger's theories on nudes while pointedly ignoring her naked lover (Michael Phillis). When he responds in song, she turns the tables in a comically devastating twist.
Anna Bella Eema
Robert Hurwitt, San Francisco chronicle
Irene, the home-bound, 25-year-old mother of 10-year-old Anna Bella (an engrossing Danielle Levin as a preternaturally wise child), [are] the last residents of a condemned trailer park.
Deborah Giattina, San Francisco Guardian
The stage's three inhabitants execute this complex work with perfect elocution and graceful movements to provide nothing short of a wonderfully engaging and magical experience.
Becoming Memories
Chad jones, Oakland Tribune
Levin’s enthusiasm as an irrepressible teenager is contagious, which makes the character’s transformation into a repressed, abused wife al the sadder.
Robert Hurwitt, San Francisco Chronicle
Rosina...a delightfully buoyant and smart Danielle Levin...
Cymbeline
Alexandra DeFelice, Oakland Tribune
Levin portrays a perfect damsel in distress, pouting when she’s sad, jumping up and down in glee and lusting after her “husband.”
Pat Craig, Contra Costa Times
Levin...is every bit the princess, and quite funny at the same time
Urinetown
Sam Hurwitt, East Bay Express
Danielle Levin is priceless as an adorable moppet pointing out plot inconsistencies.
Pat Craig, contra Costa Times
An outstanding cast, particularly...Danielle Levin as Little Sally
Emma
Adele Chavez, San Francisco Bay Times
[Elton’s] even more pretentious wife, played by Danielle Levin, was a miracle of snobbish glee.
Emilie, La Marquise du Chatelet defends her life tonight
Robert Hurwitt, San Francisco Chronicle
As embodied by a fiercely inquisitive and joyfully sexy Danielle Levin, Emilie is too busy living, loving and wrestling with the laws of physics to get didactic....Levin's Emilie flirts as if the brain were a sex organ.
Sam Hurwitt, The Idiolect
Levin exudes such joy in grappling with concepts that her one-upsmanship seems to be a simple extension of that, and her frustration at not being taken seriously because she’s a woman is more than understandable. She also heroically spends the entire intermission onstage, furiously writing and researching a book.