The story of us told by those who know us best.
Over the past 28 seasons it has been our honor to be part of many stories. Whether on stage, through our educational programing, or from our company members, these stories have created the Georgia Shakespeare family. Over the next few weeks we are delighted to share some of those stories with you.
Carolyn and Emily Cook
Emily and Carolyn Cook (Photo By Stephanie Richardson)
Meet Carolyn and Emily Cook. Associate Artist Carolyn Cook has been with Georgia Shakespeare since her first performance in the 1994 production of A Midsummer Night's Dream. Since then Carolyn and her family have beenan intergal part of our company. Her daughter Emily not only grew up in the tent and the halls of Georgia Shakes but has also become a member of GS as a wardrobe intern, electrics intern and all around rock star.
Read on to find out more about their favorite memories and why Georgia Shakespeare matters to them.
What are some of your early memories of GS?
C: I auditioned a lot before getting cast—[working for GS] was something I aspired to for a number of
years. I auditioned and was not even called back, auditioned and almost got cast—that time, I lost out
to an actor who later went on to Broadway, so I was ok with that. I worked with a teen summer drama
program in Carrolton, GA, and brought those students to see shows, [Georgia Shakespeare] was on
my radar for a long time. I was first cast in 1994—almost 20 years ago! It was a wonderful experience.
I date back to the tent days: I watched the building go up. I performed one summer knowing that the
next summer I would be a mom—I came back the next summer, and I remember the staff taking turns
holding the baby while I was onstage.
E: I don’t remember not being at GS. I’ve always—literally, always had a GS. It doesn’t fit into my
worldview to not have Georgia Shakespeare. I vaguely remember sets —I don’t know the years, or even
what shows, but the images have stuck with me. The space, the stage, I’ve always had those memories.
I remember coming with mom to rehearsals, and I remember when I got old enough to stay at home
alone while she went to rehearsals, and it being weird to not be there. We called it “the Big Castle.”
C: It was so cool, to watch all the associate artists’ kids growing up right there in the hallway. Chris
Kayser’s kids, all of them. They were as much a part of the experience as we were.
E: I’m very protective of my identity as a Georgia Shakespeare kid. I’m the authentic deal, you know? I
can always tell the real ones. I’m a real Georgia Shakespeare kid.
E: I remember mom in a photoshoot, when I was still young and wanted to do the same things. I put on
this white dress and clown makeup, with the white stopping right below my eyes.
C: The next year I brought her again, with a little costume for her to wear. It was just too much fun.
What is genuinely Georgia Shakespeare to you?
C: I guess for me, it’s the quality of the work. Whether it’s Shakespeare or anything else, it’s the quality
of the writing and the work itself. Anytime I’m working at Georgia Shakespeare, I know I’m going to be
sinking my teeth into great work. I love that.
E: The people. It’s a family, people I’ve known all my life. It’s a community of great people who come
together to make great work.
C: From another angle, it’s welcoming as a parent. Whenever I’ve needed to bring Emily, it’s not just fine
but encouraged to help her grow as a person and an artist. Emily’s done apprenticeships as she’s grown
and developed into them; she assisted with sound for Alice [Alice in Wonderland, 2009], wardrobe for
Sword [Legend of the Sword in the Stone, 2010], lights in Odyssey [The Odyssey: A Journey Home, 2010],
and a full internship in lights for the Scottish play [Macbeth, 2012].
E: Well, the first one was actually Richard…
C: Oh right! The first was Richard the Third [Richard III, 2007], she played the older prince at the student
matinees, and one evening. It was really amazing to see her grow through these experiences as a
theatre artist and practitioner.
E: There was a moment in the Richard photocall that I have never forgotten: we were doing the ghost
scene, the set was kind of a grand stand with risers, and this big metal, skeletal staircase in the middle.
We had this red silk screen that the “ghosts” would walk up behind, casting their shadows on it. We [the
two princes] walked down the staircase to the silk screen—they had told us to hold hands, and when
we got to the screen to raise our arms, for shape. We started to laugh, and then Margo up in the booth
called down, “I can see your little noses!” And we just lost it. I was trying so hard not to laugh that a tear
ran down to the end of my nose and stuck there.
C: It’s interesting how many ways you can interact with GS. For me, first I was an audience member,
then an auditioner, then an actor, then wardrobe, front of house greeter and usher, a teacher for the
education programs, as well as a parent—well, chauffeur—in the education programs, and I’ve been
involved as a board member. It’s just such a rich, cultural experience to be a part of GS. There are so
many opportunities to be involved with this company. And we’re not pigeonholed as GS—it’s a place
where artists can develop. At times when I wanted to explore, I’ve been able to pursue opportunities: I
produced some staged readings in the rehearsal halls, and I directed the Will Power Ensemble touring
show, Bard’s Best. GS is a place where I feel nurtured artistically.
E: I’ve always felt taken seriously [at GS]. I’ve never been talked down to.
C: Yes, children are not talked down to at GS. It was really cool for both of us, but for Emily to get to
see another child actor in Macbeth being treated with the same respect and support as she has had. GS
takes the work very seriously, but it’s a lot of fun. There’s a very strong comradery.
E: And you can always tell how much fun they’re having.
What’s it been like to work together at GS?
C: What’s cool for us is that although we haven’t actually worked together on a project at GS, we’re able
to come home and talk about it.
E: We deeply understand the environment, and the atmosphere of the place. We connect over what the
other person is doing.
What would you say to someone who has never been to GS?
C: It’s a unique combination of fun and excellence. And your kids will be welcome. There is absolutely
nothing intimidating about coming to GS—you can wear your jeans and tennis shoes…
E: …or your tux…
C: You can make yourself at home at GS.
E: There has to be a Georgia Shakespeare. There has to be a GS so that Emily Cook’s life has meaning!
C: GS is a rock, and anchor in the Atlanta arts community; a place where those audiences and artists are
welcomed and nourished in meaningful ways. The cultural experience of Atlanta is lifted [thanks to GS].
E: Art is essential to the health of the human mind. Theatre is a strong form of art—such a clear,
abstract but solid way of looking at the human experience. GS does such a good job of exploring and
expressing that. It’s essential for our existence. GS is such an exquisite manifestation of theatre.
C: I agree—theatre advances community; we need live theatre to have a thriving community.
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