Karen Knox is a Toronto and London England based actress who has worked and trained in both the U.K (L.A.M.D.A) and Canada. She plays “Veronica Vale” in Bell Fibe T.V’s BARBELLE. Selected screen performances include: Jessie Reyez’s Gatekeepers (Peter Huang/Mud Ruk Entertainment), That’s My DJ (D.W Waterson/Night is Y), Murdoch Mysteries (Peter Mitchel/CBC), Sinner (Stash Capar/Spy Films), Sugar Sisters (Katie Nolan/Babe Nation & Muse Entertainment), and Assassins’s Creed, Watchdogs, Far Cry, and Starlink: Battle for Atlas for Ubisoft.
She has performed across Canada, as well as in London’s West End. Selected theatre credits include: Stupid Fucking Bird (Vinetta Stromberg/Pop Up Theatre), The world premiere of John Patrick Shanley’s A Woman is a Secret (Andrew Shaver/Theatre Centre), Venus in Fur (Sam Gibbs/Tristian Bates Theatre U.K), The Things We Do For Love (Laurie Stevens/Odyssey Theatre) for which she received a Rideau Award Nomination for Best Actress, Taming of the Shrew (Tyrone Savage/The Storefront Theatre).
Karen is also an accomplished writer and director. Her production company, BOSS & CO released it’s first series in July 2017 on Bell Fibe T.V. She wrote and directed Case of the Massey Bodice Ripping in partnership with The Toronto Rape Crisis Centre in fall 2017 starring some of Canada’s top talent. Boss & Co has several other creative projects in development which feature female written/directed/driven content.
In 2012 she co wrote and directed the critically acclaimed The Loyalists for Single Thread, voted Toronto’s best immersive and site specific theatre company in NOW Magazine. In September of 2014 she directed Single Thread’s production of Much Ado About Nothing at Toronto’s historic Spadina House.
“Nina’s trajectory, from ingénue to sexual awakening to apparent madness, is made piercingly clear by Karen Knox. In this version she gets to tell her own back-story rather than having it recited by somebody else. Her scenes with Craig Lauzon’s Trigorin, a magnetic shrug of a man, are electric.”
“Lauzon has the realest presence on stage – and his scenes with Knox’s magnetic Nina are golden”
“Look for electric work by Knox here.”
Karen Knox is stunning as David Ive’s three faced demi goddess Vanda Jordan. Her range as an actress is truly remarkable. The initial comedy of the piece sings, and the shocking ending is both satisfying and heart stopping.
Knox is remarkable as Dee. Despite a number of hilarious lines, her real strength is the portrayal of her character’s past emotional wounds and her take on relationships.
Knox, a leading lady in every sense of the term, is terrific as Dee. A killer wit paired with great wisdom and depth.
Karen Knox, who plays the lead character Finea, steals the show. She is phenomenal.
The audience is completely at the mercy of Knox and Sims and the electricity between them at times depletes the oxygen in the theatre, makes us catch our breath.
The highlight of the evening is the excellent Karen Knox as Finea, an exuberant young Hungarian aristocrat.
Because I feel that she deserves a paragraph of her own, I need to mention that actress Karen Knox stole the entire show in this last section. As Finea, aka Celio, Knox played the cross-dressing female protagonist, full of vigor and derring-do.
A standout turn by Knox, acknowledging her own amazing charm and eloquence
The female characters may be fantasies, but that doesn’t mean they’re any less fun to watch. Knox makes Shanley’s wisdom-spouting model a very funny creation.
The highlight of the second half is a fascinating scene between an aging millionaire and Knox as a pragmatic Polish émigré.
Rising star Karen Knox is engaging as a forthright former model.
“The other actors, in a variety of roles, are equally fine, with standout work by Karen Knox as a manipulative figure from the women’s past.”
Again, this is a team of the best actors, but I must mention that Karen Knox is particularly delightful as Pet. You can see the gleaming wheels of her mind turning behind every expression of glee, disappointment, or annoyance on her face.
While all the actors have a lot of fun with their subverted roles and statuses, it’s Knox who truly shines. Knox is irrepressible throughout as a mischievous sprite, and although her role in the group appears to grant her the lowest status, she’s revealed to be the most honest, capable, and stress-free of them all.
Site-specific, promenade theatre like this sells itself on the illusion of agency and mobility – hey, you’re not sitting in a chair in a stuffy, old theatre! In actuality, more often than not, it requires more submission, as you are ordered around like servants not to be seen or heard. Kudos then to this Much Ado, directed by Karen Knox, for incorporating this into the overall vision.
Karen Knox is given the show’s most meaty role as Kate Thomas and she nails it. She’s the antagonist in that she keeps the play in conflict and her challenging delivery easily riles up the other characters. And her dramatic performance in the last half of the second act is really something to be seen.
Knox’s Kate is sharp and edgy, her fuck-you attitude dissolving to show a genuine, savvy and severely confused young woman.
Karen Knox is Kate, his co-star, a hot Hollywood babe with serious attitude. Throughout the play, Knox delivers a fascinating and controlled tour-de-force. She’s gives us a Kate, youthful and indulged—a self-destructive Hollywood bitch whose behavior fills tabloids
Karen Knox is a fiery Kate and when she first capitulates to Petruchio’s demands, she plays it with an irony and winks that lets the audience know she is no fool and is playing Petruchio to her own ends.
But the best pairing is, hands down, Petruchio (Benjamin Blais) and Kate (Karen Knox), who gel in surprising ways. I came away believing that this couple could quite happily spend the rest of their days playing not-altogether-kind pranks on their friends and neighbours, cackling and grinning throughout.