testimonials

Unley City Council

"I do not have enough or the right words to summarise how we all feel at Council about the Found,out project.
It was so well thought through and beautifully delivered.
......... The interaction with the community was amazing and the legacy of this work will resonate for a long time. Positive, intimate, perceptive, inclusive , welcoming, creative community engagement.
All the feedback has been so positive. ...............
My special thanks to the inspirational Morag Cook whose project management skills are …well, awesome is not too strong a word.

Thanks on behalf of the Unley community."
Matthew Ives, Unly City Council, Cultural Development Coordinator

Mandala Opening Event

" We were thrilled with - and our guests were extremely impressed by - the stage presence that Morag was able to create for our event. It was world class. We will certainly be using her services in the future and recommending her to our other clients"
Chris Rann , Rann Communication

Holding the Man


Morag Cook’s set is perhaps the true star of the production. Wooden frames hold shelves encasing the stage. ..... It is these constantly delicate touches in the design that add so much to the story of these two men.
The play of a memoir, Cook’s shelves build up with the trinkets and the memories, of the characters, of a lifetime. As a passage of life is concluded and a skin is shed, an object is left behind and a memory is saved. Through the path from scene to scene, the set itself builds as a memoir around Tim and John.
No plain Jane

Director Rosalba Clemente has chosen to stage the production with ‘utmost simplicity’, as is stated in the program. The design, by Morag Cook, is multifunctional and segregates the space practically. It is both definitive and non-obtrusive, which is a remarkable feat given that so many locations are represented throughout the production with minimal changes to the set._
Paul Rodda, the barefoot review

God of Carnage

All this genteel parental sturm und drang takes place on the fearfully stylish Arabian-motif French living room set designed by Morag Cook - a statement in its own right. In all, this bitterly funny play, despite its rather abrupt ending, is jewel in the crown of State Theatre programming._
SAMELA HARRIS AdelaideNow September 22

Seven Stages of Grieving

Some 16 years ago, Deborah Mailman and Wesley Enoch co-wrote this spell-binding monologue for an indigenous female actor and it became the launch pad for Mailman’s career. I will never forget the great block of ice suspended above her, gradually melting through its ropes and providing a metaphor for restlessness weeping.
This new design by Morag Cook takes a different tack but one that is just as effective evoking the sackcloth and ashes of mourning.
In the foreground, a wooden circle holds a grave sized cut out filled with red dust. The backdrop is a sacking screen against which are projected the faces of beautiful black children or humiliated men in chains.
Courier Mail, Queensland, July 27 , Sue Gough

The Unexpected Man

Morag Cook’s set is stunning in its simplicity. Cook uses two see-through, mirror-sided panes of glass of each side of the stage, creating a train compartment enabling the audience to see the actors clearly, as well as their reflections
Review by Stephanie Johnson
www.theatreguide.com.au

'The Unexpected Man' got four stars - one for designer Morag Cook who put the show on the rails,
‘Morag Cook uses a pivoting rail seat to honour the audience with multiple perspectives of the action - simulating film’
David Grybowski db mag

The Sad Ballad of Penny Dreadful

Annabel Giles and Rory Walker are wonderful in multiple quick change roles, made possible by Morag Cook's inventive costume design. Rather like three-dimensional paper doll cut-out clothing, the costumes are comical, quirky and clever.
Guardian Messenger, Sue oldknow