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B i o g r a p h y

Emily McKnight is a Sydney based actor, musician and children’s entertainer. She is known as the children’s singer, Emily Who, and recently released her fourth album of songs.


As an actor, her theatrical credits include; A Christmas Carol (Ensemble Theatre), As You Like It (Sport For Jove), Macbeth (SheShakespeare), TickTickBoom (subtlenuance), Gravity Guts (Company of Rogues), and she has also toured Australia with Poetry in Action. Her television credits include; Jay’s Jungle (Ambience Entertainment) and Black Comedy (ABC). She is also a voice over actor and is the voice of the audio tour at the Hyde Park Barracks Museum, Sydney. Emily is the creator of the podcast: An Actor Survives.

She writes and presents annual children’s and educational performances for the Sydney Symphony Orchestra, Sydney Youth Orchestras and Kur-ring-gai Philharmonic Orchestra. Her work with Sydney Symphony includes presenting the 2023 family show in the Sydney Opera House Concert Hall. 

As Emily Who she has performed in Darling Harbour, at Sydney Zoo and for Inner West Kids Fest, among other performance venues. In 2023 Emily received the award for Best Children’s Performer NSW - overall winner and people’s choice at the Whats on 4 Kids Awards. She was also nominated for Best Album at the Major Minor Music Awards. 

In March 2024 she performed and participated at the Visioni Children’s festival in Bologna, Italy, and toured to preschools across the UK.  


Christmas Carol, Ensemble Theatre 2022, Reviews


A newcomer to the mainstream is Emily McKnight, who plays the flute, manipulates the stylised, heartrending puppet that represents the Cratchits’ sickly son Tiny Tim (puppet maker Tina Williams), and also sparkles in her diverse roles.


Emily McKnight was consistently strong in all the parts she played. I must say, however, her ability to enliven a nearly featureless little puppet with a childlike wonder and crippled fragility, absolutely brought Tiny Tim to life. When she sang about potentially waking up tomorrow with the angels, I was a blubbering mess. 


There are casts with great chemistry and there are casts that are truly a family, and the latter is absolutely the case in this production. Almost everyone takes on multiple roles – none so many as Emily McKnight, who single-handedly covers six roles including a puppet and plays the flute on top of it without breaking a sweat – and are in constant movement yet the choreography is seamless, comfortable. They’re so clearly having a wonderful time, and it resonates with the audience.


Emily McKnight is particularly noteworthy here. Alongside playing six characters, she accompanies Darryl Wallis with a flute, has her own solo musical number, and operates a small skeletal puppet, the play’s bizarre representation of Tiny Tim. Seeing her do it all is a feat just by itself.


Emily McKnight offers an assortment of characters and a ballad or two throughout, but it’s her softness as she puppets Tiny Tim that wins the audience’s heart.


Emily McKnight gives a heartfelt performance as Lady Macbeth and the infamous monologue “Unsex me here” has never been so appropriately complex and emotive. It is during this speech we realise that her character represents the desire to abandon femininity for the sake of empowerment; and yet, this iteration of the work as a purely female version, changes the meaning and intensity around this entirely.


Emily McKnight as Lady MacBeth was stirring and her raw emotion was palpable



Praise for Lady Macbeth

(Sheshakespeare's Macbeth 2018)


Emily McKnight as Lady MacBeth was stirring and her raw emotion was palpable


Emily McKnight as Lady MacBeth was stirring and her raw emotion was palpable



Praise for Jodie

(subtlenuance theatre, TickTickBoom 2018)


Emily McKnight is convincing in her performance of Jodie’s recalcitrance, for a portrait of teenage angst that we are all familiar with.

Suzy Goes See

Emily McKnight as Jodie plays the dark very well.  Her little cruelties and binning of gifts is calculated hurt, informed by medicine and martyrdom. McKnight gives her character a surly and prickly attitude.  Jodie appears to feel that she has a monopoly on suffering and her implied need for an audience is allied with an eye to a grand gesture.  McKnight tightly controls the technical aspects of presenting an illness and keeps well away from the morbid but some relief from the character’s gruffness would better shade her creation.  Her command of the monologues is unquestioningly good as she cultivates the audience empathy without overdone sentiment.

Sydney Arts Guide

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