Cameron Knight
Cameron Knight
Professional Reviews

Review: NDSF's 'Much Ado' a toe-tapper: NDSF's 'Much Ado' swings with World War II setting
By Andrew S. Hughes, South Bend Tribune, August 18, 2017
"Cameron Knight and Ingersoll make Benedick and Beatrice a fiery and unpredictable couple with a wonderful, lively rhythm to their exchanges. Each makes exquisite, often hilarious use of facial expressions and body language and has a commanding stage presence, him with a manly coolness and her with a liberated playfulness."
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The Notre Dame Shakespeare Festival jumps and jives with WW II 'Much Ado About Nothing'
By Andrew S. Hughes, South Bend Tribune, August 13, 2017
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"Many love stories are young lovers coming to it for the first time, and it has an innocence to it," [Knight] says. "The thing I love about ‘Much Ado’ is that it’s people who are brave enough to try one more time. … You see what happens when the smallest detail can tear everything apart. It shows how delicate love can be."
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Twelfth Night
South Bend Tribune
"The thing I love about Shakespeare’s comedies is that they often start with something very tragic,” Knight says. “How they treat that tragedy is what makes it a comedy and not 'Hamlet.'" Read the full review...

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Romeo and Juliet
Broadway World
"Join us for Romeo and Juliet, set in the sociopolitical landscape of Black Lives Matter and the struggle for gender equality. The infamous feud between the Montagues and the Capulets ends when Romeo and Juliet, a pair of star-crossed female lovers, take their own lives. This retelling of Shakespeare's classic explores sexual identity, familial obligation, and public unrest in the modern world." Read the full preview...
Faith rewarded in Notre Dame's production of Shakespeare's 'Pericles'
By Andrew S. Hughes South Bend Tribune
"We’re leaning into the epic nature of the play,” Knight says, “and using the fact that we’re outdoors. … We’re leaning on the fundamentals of storytelling, the language and the actors. … We’re saying, ‘We’re relying on the audience’s imagination and your capacity to tell a story.’" Read the full preview...

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My Manana Comes
Newcity Stage
"The ensemble cast of Dennis García, Johnathan Nieves, Victor Maraña and Cameron Knight delivers throughout, but especially in scenes between Jorge (Maraña) and Peter (Knight)."
"Throughout the show Maraña and Knight wonderfully encapsulate the sacrifices, anger and frustration good people—both immigrants and citizens—are faced with in contemporary American society."
My Manana Comes
Chicago Tribune
"...Marana and Knight are especially empathetic actors who've forged rich characters."

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Seven Guitars
The Pittsburgh City Paper
"Director Cameron Knight seamlessly blends music, movement and stunning visuals with Wilson's words. If there's a flaw in this production, it's not worth noticing."
Seven Guitars
Pittsburgh Post-Gazette
"The focal achievement of CMU's 'Seven Guitars' is its acting - compelling and believable beyond the years of the seven actors."
"The design aspects keep pace - set, lights and the evocative sound design. Such a fine production argues good direction, so credit faculty member Cameron Knight."
Seven Guitars
Fall 2014 Drama Newsletter
"Remembering Wilson's Pittsburgh: The School of Drama Presents August Wilson's Seven Guitars"
Click here to view the article
Seven Guitars - American Theater Magazine advertisement

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"Top notch performances are given by supporting actors Cameron Knight (Sam)… whose deep, sexy voice and expressive eyes help define the inner turmoil his character faces"
Blues for an Alabama Sky

Between The Lines News

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"In my opinion, the death scene that Shakespeare wrote is one of the most difficult scenes that was ever written for an actor to perform convincingly. From the time Cameron Knight, as Othello, spoke to himself the words, "It is the cause, it is the cause," genuine believability came through in his character. The audience sat in silent horror as they watched him smother his beloved Desdemona, though moments earlier he had kissed her tenderly as she slept. It was obvious from the beginning of the play that he adored her, so when he believed her to be unfaithful, Knight's anger was explosive…I must confess, though, that his stage presence and bare chest gave the audience something to whisper about."
Othello
Kilgore News Herald

"As Othello, Knight precisely navigates the slippery slope into paranoia, gradually unraveling until he becomes near-primal, the "black ram" Iago first described him as and now has led him to be."
Othello
LA Weekly

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"Robinson was one of Lombardi’s black players. Knight applied a cool, slick demeanor to Robinson. His character explains that under Lombardi, Packers players were allowed to patronize only the Green Bay bars that would serve all players, black and white. Any other bar was off limits. Thus Knight and the play bring to light a little-known fact that makes you stop and think."
Lombardi
Third Coast Digest

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"Cameron Knight's tormented Ned is perfectly played as a bore, an earnest bore, who plays and replays his videos of his biggest blasts for his friends. A bore who needles his wife at dinner: Is the chicken moist? Are the carrots overdone? Really, can't you make room for a bit of jam roly-poly?"
Parlour Song
TRIBLIVE.com

Ned is a harder bloke to fathom. What's really eating him? Is he impotent or just too removed from life to embrace his wife? And why does he keep losing things like gold cuff links or a lawn mower? Cameron Knight brings a sympathetic earnestness to a character who does want to please -- a dinner scene with Joy is a standout -- or to destroy somebody like he levels buildings."
Parlour Song
Pittsburgh Post Gazette

"Knight is particularly praiseworthy: In a few key scenes, he brings the audience from amusement to terror and back again."
Parlour Song
Pittsburgh City Paper

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"Moreover, Cameron Knight, a recent addition to the theatre faculty at CMU, brings memorable color and definition to a multiplicity of subsidiary characters and becomes a wonder to watch."
Looking for the Pony
Pittsburgh Post Gazette

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"With direction by Kovitz and Cameron Knight, not a single false note is sounded, and Kovitz's relentless refusal to overplay and/or over- explain is what gives this Pittsburgh-premiere evening its powerful punch… you'll be grateful for having seen it."
Underneath the Lintel
Pittsburgh City Paper
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