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Reviews: Quote

“The centre of the play is the descending spiral of LaRose’ Lady Macbeth and Martin’s Fate-marked Thane of Glamis, through all their terror, rage, determination, indecision, ambition, laughter, madness, and, yes, moments of tender love... LaRose’s bright and Martin’s melancholy, the eyes of these two brave, tragic souls so marked by the Wyrd spinners of Fate will haunt you as you walk home through the snow”

– Behind the Hedge on MACBETH
Danielle's score for MACBETH was nominated by the Elizabeth Sterling Haynes Awards for Outstanding Score for a Play or Musical

photo by BB Collective Photography, pictured with Byron Martin

Reviews: Quote

“LaRose’s well-spoken Lady Macbeth… has an impressively steely resolve dressed in cordial charm…
The disintegration of her self-possession, in the sleepwalking scene, is a cage-rattling experience”

-12th Night, Liz Nicholls on MACBETH

"Spectacular...We went into this knowing it was going to be good because we've seen The Malachites before... 
Fast, comprehensible at all times, and SO funny! I was laughing the whole time...
LaRose [as Titania & Hippolyta] is pretty and strong and angry- She's a force of nature, so watch out for that performance"!
-"That's a Thing" Podcast's Karen & Elizabeth on A MIDSUMMER NIGHT'S DREAM

 “In LaRose’s appealing performance as Olivia, the carapace of grief and aristocratic hauteur is thin already and ready for the melting…it vanishes entirely, uncovering a heart ready for love and lightness of being”
- 12th Night, Liz Nicholls on TWELFTH NIGHT

“Gripping and often spellbinding, LaRose’s Mary constantly works on two levels…
A Mesmerizing experience and one I didn’t want to end”
Named #7 on The Calgary Herald’s “The Top Ten Moments in Calgary Theatre in 2017”

“Most of all, LaRose was an amazing Desdemona... full of mischief in the earlier scenes, which made her breakdown in front of Othello and her death scene all the more poignant"
-Unseen Academic on OTHELLO

“The French princess, charmingly played by Danielle LaRose, is endearing… The echoing space is very hospitable to the kind of period polyphony that filters through LaRose’s musical score, played live”

12th Night, Liz Nicholls on HENRY V

“Danielle LaRose composed the original music for the production. Atmospheric and haunting, it was beautifully written and well-used in moments of high tension”

– The Play’s the Thing on John McEnery's KING LEAR

“Danielle LaRose’s modernist and atmospheric soundscape rose over our pews at key moments

to punctuate the storm and battle scenes”

– A Younger Theatre on John McEnery's KING LEAR

 “The magic with which Danielle LaRose’s Oberon toys with the lovers is one of huge potency, its power like a drug that renders the lovers near-helpless… LaRose’s Oberon subtly shifts the emphases of these well-known characters (Oberon & Titania)

… A dream of a Dream”

-The Public Reviews UK on MSND

 “Music - played largely out of sight by performers- is haunting and ethereal"

 –A View From the Gods on RICHARD II

 “Original music by Danielle LaRose adds a beautiful theatricality. So haunting... Nerissa’s (LaRose) song makes the choosing of the casket a spine-tingling moment”

–The Public Reviews UK on THE MERCHANT OF VENICE

 “Martha (Danielle LaRose) is stunning and so captivating… singing ‘The Dark I Know Well’. Incredible vocal talent”


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