miss saigon tour dates 2023

THANK YOU MANILA!

MISS SAIGON LANDS IN TAIWAN 31 MAY 2024

National Kaohsiung Center for the Arts 31 May - 2 June 2024

National taichung theater 8 june - 9 june 2024, tainan municipal cultural center 14 june - 16 june 2024, national theater 22 june - 7 july 2024, marina bay sands, sands theatre from 15 august 2024, production photos.

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Miss Saigon Tickets

Set in 1975 during the final days of the American occupation of Saigon,  Miss Saigon  is an epic love story about the relationship between an American G.I. and a young Vietnamese woman. Orphaned by war, 17-year-old Kim is forced to work as a bar girl in a sleazy Saigon nightclub, owned by a notorious wheeler-dealer known as "The Engineer." John, an American GI, buys his friend Chris the services of Kim for the night—a night that will change their lives forever.

This show is closed.

Performances ended on Jan. 14, 2018.

News & Features

About miss saigon on broadway, video & photos.

In the last days of the Vietnam War, 17-year-old Kim is forced to work in a Saigon bar run by a notorious character known as the Engineer. There, she meets and falls in love with an American G.I. named Chris, but they are torn apart by the fall of Saigon. For 3 years, Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son. Don't miss this limited Broadway engagement of the new production The New Yorker calls "a dynamite Broadway revival," and that NY1 says, “Soars to the rafters!”

Cast & Creative

Eva Noblezada won a Grammy and was nominated for a Tony for starring on Broadway in Hadestown . It was Eva's second Tony nomination in her first two Broadway roles, following her earlier nod in 2017 for the title role of  Miss Saigon . She was featured in the Amblin feature,  Easter Sunday , and as the lead in the AppleTV+ animated film,  Luck . Previously, she starred for director Diane Paragas in the acclaimed Sony Pictures film,  Yellow Rose . She also starred in the West End revivals of  Miss Saigon  and Les Misérables .

Returning to Broadway this spring, Jon Jon Briones will star as Hermes in the Tony-award winning Hadestown . Previously he played the Engineer in the London West End & Broadway revival of Miss Saigon , a role which garnered him Olivier and Drama Desk nominations and a Theater World Award. Briones has a bustling career, encompassing stage, screen, and television. Most recently he starred in the Amblin feature The Last Voyage of the Demeter , played series regular ‘Gabriel Alonto’ in the FX limited series Class of 09 , and Maurice in Disney's live-action Beauty and the Beast . Briones is best known for his starring role in Ryan Murphy’s Golden Globe®-nominated Netflix series Ratched , where he portrayed Dr. Richard Hanover opposite Sarah Paulson. Other popular performances have been Modesto Cunanan in American Crime Story: The Assassination of Gianni Versace , Star Trek Picard , and American Horror Story . Briones lends his vocal talents to the ongoing Nickelodeon series Transformers: Earthspark as well as Trese on Netflix.

British-born actor Alistair Brammer made his West End debut as Marius in Les Miserables and played Jean Prouvaire in the show's 25th anniversary concert in 2010 and in the 2012 feature film. He appeared on the West End in War Horse and toured in Hair and Joseph and the Amazing Technicolor Dreamcoat . Brammer made his Broadway debut as Chris in Miss Saigon , a role he first performed in London.

Broadway:  Miss Saigon ,  Allegiance ,  Wicked ,  The Light in the Piazza . National Tours:  Wicked ,  The Light in the Piazza . Regional: Long Wharf-  Last Five Years  and  Prayer for My Enemy ,  Old Globe-  Heart of Rock and Roll . TV: NCIS: New Orleans, The Good Wife (CBS), Live from Lincoln Center: Light in the Piazza . 

Born in Bermuda and raised in Boston, Nicholas recently moved to LA to star as Aaron Burr in  Hamilton  at the Pantages Theatre. For the past 12 years, he has been a staple of the New York Broadway community performing musicals, plays, and Shakespeare. Nick studied at the Juilliard School and The Boston Conservatory, where he cultivated his unique range as both an actor and a singer. His professional debut was starring alongside Lin-Manuel Miranda as Benny in  In the Heights  in Puerto Rico. Select theater credits include  Hamilton,   Miss Saigon,   Motown The Musical ,  Lazarus  (with David Bowie), Shakespeare in the Park,  Hurt Village  (Katori Hall) and  RENT . TV credits include: All Rise (CBS), United States of Al (CBS) and Sex&Drugs&Rock&Roll .

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”Miss Saigon” to be revived in 2023

A new production of Miss Saigon will be presented in the Crucible Theatre from Saturday 8 July 2023 to Saturday 12 August 2023.

The first regional non-replica production of Boublil and Schönberg’s hit musical (which is set during the Vietnam War and follows a tragic love story) will feature a reimagined staging by Sheffield Theatres’ artistic director Robert Hastie and RTYDS associate artistic director Anthony Lau as co-directors, with design by Ben Stones and lighting design by Jessica Hung Han Yun.

Joanna Ampil ( South Pacific ) will play The Engineer, with additional casting to be announced.

Also in the season will be Wildfire Road , a new environmental thriller by Eve Leigh and directed by Laura Keefe. It runs from 4 to 18 March.

Hastie said today: “As we reach the culmination of our 50th anniversary year we are proud to announce new productions that continue our quest to give Sheffield audiences thrilling experiences they can only get in the theatre. A new production of Miss Saigon – the first in the UK to be given permission to explore new approaches to staging and casting since the original 1989 production – will light up the Crucible in Summer 2023. Anthony and I are thrilled to be co-directing Boublil and Schönberg’s iconic show, and could not be more excited to be welcoming Joanna Ampil to Sheffield to play The Engineer.

“And as ever at Sheffield Theatres the classic sits alongside the brand new, with a mind-bending new play from Eve Leigh taking audiences to new heights in the Playhouse, our flexible, intimate space recently renamed in honour of our founding designer, Tanya Moiseiwitsch.

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The Heat Is On, All Across America!

Claude-Michel Schönberg and Alain Boublil's iconic musical Miss Saigon isn't just the hottest revival on Broadway — it's about to be the hottest revival touring North America, too! Adapted from Puccini's iconic Madam Butterfly and originally staged to critical and popular acclaim in 1989, the musical charts the star-crossed romance between an American GI and the young Vietnamese woman who falls in love with him, a romance that plays out against the brutality and uncertainty of the Vietnam War. It's a powerhouse drama that's been the toast of Broadway, and it's coming your way soon!

Want to experience the music, the romance, and the heartbreak of this iconic musical, live and in person in 2024? Then you can't afford to wait.  Check out the Miss Saigon Tour schedule below, click the link for the appropriate production, and score your tickets today!

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Miss Saigon review

• Theatre, Musicals
• 3 out of 5 stars
• Recommended

Time Out says

This blockbuster musical revival masks its issues with grandeur, hoping the spectacle distracts from its flaws – and for many audiences, it succeeds

From the moment it was announced that Opera Australia was bringing Cameron Mackintosh’s 2014 West End revival of Miss Saigon  to Australia, there has been considerable discourse in the theatre community. The criticism was to be expected – the controversy has its own Wikipedia page – and the musical has a complicated legacy. 

Set towards the end of the Vietnam war, the story follows Kim (Abigail Adriano), a recently orphaned teenager taken in by a hustling brothel-owner known only as The Engineer (Seann Miley Moore). On her first night as a sex worker her services are offered to soft-spoken American GI Chris (Nigel Huckle) as an “almost virgin”. Unexpectedly, they fall in love – but a misunderstanding leads Chris to break his promise of taking Kim to America when US forces are pulled out of the country. Kim is left in Vietnam to await Chris’s return and care for their son, whom Chris is unaware even exists. Ultimately, she gives up her child, believing that only America can give him a life worth living.

This production is a visual delight offering strong performances that are sure to make these actors stars...

If the story sounds familiar, it’s because it’s based on Puccini’s equally controversial 1904 opera, Madama Butterfly (which Opera Australia also recently staged on Sydney Harbour to critical acclaim ). Created by Claude-Michel Schönberg and Alain Boublil, who are predominantly known for Les Misérables , Miss Saigon debuted on the West End in 1989. With its tragic, doomed love story and layered, expansive score, the show has garnered plenty of fans over the years. However, since its inception, it has also garnered criticism for its harmful perpetuation of “orientalism, racism, and sexism” .

From a technical perspective, this production is a visual delight offering imposing sets, majestic lighting and choreography and strong performances that are sure to make these actors stars, but the issues with Miss Saigon and the western theatrical landscape that hang over this production cannot be ignored. There is a longstanding debate about whether classic musicals, often a product of their time, should be judged by the values of contemporary society. Traditionalists will insist that those who demand a modern reckoning “miss the point” , which disregards the way that art, in particular “the classic” has been used for centuries – as an ideological weapon to shape the self-image of the colonisers and the colonised. It assumes that a production has no moral responsibility for the power it has to infiltrate popular culture, impact attitudes and behaviours, and influence unconscious biases.

Others believe that productions can be updated to better serve the communities which they have historically harmed. South African production director Jean-Pierre Van Der Spuy is one such believer, and he and the Australian production team have done their best to modernise this story steeped in American propaganda. 

Drawing on his experience in South African apartheid protest theatre, Van Der Spuy is sensitive to challenges of portraying real events and the show’s propagandist elements, which position white Western culture as superior to Vietnamese and Asian cultures more broadly. 

As a result, this revival lingers over the atrocities of war and the destruction it leaves behind, with an emphasis on the damage caused by US forces. The famous helicopter scene in which Chris leaves Kim behind stands out here. An arresting accomplishment of stagecraft, it is lit immaculately by Bruno Poet and features video projections by Luke Halls that transport the audience to the harrowing moments before and after a country loses its lifeline. These moments, and the preceding scenes that show the lines of desperation at the American Embassy, are dripping with white guilt but hold their relevance for a modern audience, presenting stark visuals that could easily mirror real-life scenes from Afghanistan and Syria in recent years. 

There is only so much that can be changed in a touring production that is almost a decade old, and the resulting amendments are too subtle...

To try and improve this production's sensitivity, Van Der Spuy has brought on Vietnamese-American resident directo r, Theresa Nguyen, and engaged several cultural consultants across music, casting, language and production. As a result, there is thankfully no prosthetics in use ( as in the original production ) and many Asian-Australian actors and performers from across the Asia Pacific are given the opportunity to shine. 

The cast is exceptional , and given the dearth of dimensional lead roles for Asian Australians, it's unfortunately not a surprise to learn that for many of them, this production is their debut. It’s no secret that Claude-Michel Schönberg and Alain Boublil’s music, along with the late William David Brohn’s orchestration, is impressive, and this cast meets this hefty score with skill and gumption. Adriano delivers boundless desperation in ballad after ballad as she clings to Huckle’s Chris – their intertwining, intimate melodies emphatic, creating spine-tingling chills. Vietnamese words are used in Chris and Kim’s betrothal song, which was originally written as non-sensical gibberish, but the arrangements otherwise remain the same. Much like in Schonberg and Boublil’s Les Mis ,  the soaring arrangements are the most impactful part of the show.

Van Der Spuy most markedly puts his stamp on this production through the casting of Filipino-Australian singer and The Voice alum Seann Miley Moore who brings queer, camp excellence to the role of The Engineer. Miley Moore leans into the lascivious pansexuality inherent in the renegade swindler, pushing the character beyond a misogynistic sleaze to a flamboyant masochist who craves the extravagant materialism only white privilege can bring. This expression of queerness increases the stakes for a character that has often been dismissed as a mere caricature, a projection of colonial views of eastern barbarism. 

It’s a somewhat fresh interpretation of The Engineer that is a far cry away from the prosthetics and yellowface that has haunted this characters’ past. However, it begins to feel dissonant from the rest of the show as this liberation, self-righteousness and empowerment is not extended to Kim, or seen in scenes that depict the sexualisation of Vietnamese and Thai women.

There is only so much that can be changed in a touring production that is almost a decade old, and the resulting amendments are too subtle, too contained or too internal to lead to any real modern reckoning. 

Consider the opening number, ‘The Heat is On in Saigon’, set in a brothel and historically fetishistic, this production attempts to veer away from orientalist costumes that exoticise Asian women with the male gaze. There is also a broader range of body types represented, which is welcome, but ultimately the women are portrayed as destitute, subservient and in need of saving by the strong, masculine white men of the “superior” West. These surface level choices can only go so far.  

Laurence Mossman makes an astounding debut as Thuy, the man to whom Kim is betrothed, and who she repeatedly rejects. He delivers pained, deep and controlled vocals, but is limited by a production that has constructed him as violent, exploitative, cruel and possessive. He is the antithesis to Chris's love, undeserving of sympathy – a distillation of the show’s politics that sees all-American values as good and all Asian ideology as bad.

Chris’s American wife Ellen (Kerry Anne Greenland) is the only female character portrayed sympathetically, even receiving a new song, 'Maybe', in this revival to make her more likable – because we couldn’t possibly have a musical where the white woman isn’t liked, could we?

When it comes to giving Miss Saigon a thoroughly modern makeover, this revival is more try than triumph. It continues to reinforce ideas that are already too comfortably held in a post-colonial society, that the East and the West are opposing entities and as a result non-Western nations are unsophisticated andin need of saving. It similarly sends a strong message to Asian audiences, that their survival is conditional to their conformity to the white way. However, its majority white audience will be able to enjoy the spectacle of the production. They are protected by the privilege of not identifying with the destitute Asian woman that no-one would aspire to be. 

With the Sydney theatre landscape exploding with Asian talent in works like Michelle Law’s Miss Peony and Anchuli Felicia King’s The Poison of Polygamy , let’s hope this is the last time we have to rely on an outdated ostentatious revival to make sure the talented Asian-Australian creative community is given the opportunity to shine.

Miss Saigon is playing at the Sydney Opera House until October 13, 2023. Tickets start from $75 and you can get yours over here .

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Miss Saigon

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Past Events

Here are the most recent UK tour dates we had listed for Miss Saigon. Were you there?

October 2018

• Wed 24 Oct ➙ Sat 17 Nov Sunderland Empire Miss Saigon (Touring)

September 2018

• Wed 19 Sep ➙ Sat 20 Oct Bradford, Alhambra Theatre Miss Saigon (Touring)

August 2018

• Wed 15 Aug ➙ Sat 15 Sep Norwich, Theatre Royal Miss Saigon (Touring)
• Wed 4 Jul ➙ Sat 4 Aug Plymouth, Theatre Royal Miss Saigon (Touring)
• Wed 16 May ➙ Sat 23 Jun The Bristol Hippodrome Miss Saigon (Touring)
• Wed 21 Mar ➙ Sat 12 May Manchester, Palace Theatre Miss Saigon (Touring)

February 2018

• Wed 21 Feb ➙ Sat 17 Mar Southampton, Mayflower Theatre Miss Saigon (Touring)

January 2018

• Wed 17 Jan ➙ Sat 17 Feb Edinburgh, Festival Theatre Miss Saigon (Touring)

November 2017

• Wed 29 Nov ➙ Sat 6 Jan Cardiff, Wales Millennium Centre Miss Saigon (Touring)

October 2017

• Wed 4 Oct ➙ Sat 18 Nov Dublin, Bord Gáis Energy Theatre Miss Saigon (Touring)
• Wed 26 Jul ➙ Sat 23 Sep Birmingham Hippodrome Miss Saigon (Touring)
• Mon 3 Jul ➙ Sat 22 Jul Leicester, Curve Miss Saigon (Touring)

Miss Saigon Tickets

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• Miss Saigon

Now playing–16 December 2023

Her Majesty’s Theatre Melbourne 219 Exhibition St, Melbourne

Running Time

Approximately 2 hours and 40 minutes, including interval.

Please note

This production contains scenes of a sexual and violent nature, wartime themes, firearms, derogatory and coarse language, drug use and the simulated smoking of cigarettes. The production also contains strobe lighting, gun shots, loud sound effects, theatrical haze, and pyrotechnics.

Supporting Partner

Special Offer: Book 4 tickets and Save!*

Book 4 tickets to Miss Saigon for any Tue, Wed, and Thu performances, in A, B, and C Reserve across previews and opening week and save up to $60*!

Don’t miss this musical blockbuster.

Direct from the West End and Broadway, experience this epic love story of passion and tragedy at the Her Majesty’s Theatre in Melbourne this October.

Cameron Mackintosh’s acclaimed new production of Boublil and Schönberg’s award-winning musical  Miss Saigon  is one of the most stunning theatrical experiences of our time.

Seen by 38 million people worldwide, this production is more thrilling than ever. Critics are calling it “spectacular” ( The Times UK ), a “musical masterpiece” ( Classic FM UK ), and “mind-blowingly brilliant’” ( Magic FM UK ).

From the creators of  Les Misérables , the soaring musical score features hits including “The Heat is On in Saigon”, “The Movie in My Mind”, “Last Night of the World” and “The American Dream”.

“Electrifying on every front. ★★★★★”

“spectacular. ★★★★½”, “complex, fresh and wildly entertaining. ★★★★★”, the queer review.

Cast & Creative

Book and lyrics, concept, book and music, additional lyrics, orchestrations, musical staging, additional musical staging, production designer, design concept, costume designer, lighting designer, sound designer, projections, australian production director, associate choreographer, musical supervisor, australian musical supervisor, associate set designer, associate lighting designer, associate sound designer, projection associate, costume design associate, costume designs for seann miley moore as the engineer, wig, hair & make-up designer, musical director, resident director, australian associate lighting designer, australian associate sound designer, technical director, the engineer, schultz/ensemble, asst. commissar/ensemble, clubowner/ensemble, kim alternate/ensemble, acrobat/ensemble, swing/dance supervisor, miss saigon at sydney opera house (2023).

Photographer: Daniel Boud

Miss Saigon's acclaimed London Season

Photographer: Matthew Murphy and Johan Persson

*This offer is only available for Adult ticket types to Miss Saigon at Her Majesty’s Theatre performances for seats in A, B and C Reserve, excluding Friday and Saturday performances. Not to be used in conjunction with any other offer. Cannot be used on past purchases. Tickets booked at this price cannot be transferred, exchanged or refunded.

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Miss Saigon

17 august - 13 october 2023.

In the Joan Sutherland Theatre

Opera Australia

Musical Theatre

Direct from the West End and Broadway, experience this epic love story of passion and tragedy at the iconic Sydney Opera House this August.

Sunday - Thursday & Saturday matinee performances

Friday & Saturday evening performances

$8.95 booking fee applies per transaction

Prices correct at the time of publication and subject to change without notice. Exact prices will be displayed with seat selection. 

Young people under the age of 15 must be accompanied at all times. Children aged 0 - 23 months at the time of a performance may be seated on a parent’s lap free of charge. All children occupying a seat or aged two years and older must hold a valid ticket.

The only authorised ticket agency for this event is  Sydney Opera House  and  The Australian Ballet . For more information about Authorised Agencies, see the frequently asked questions below.

Sydney Opera House Insiders pre-sale 1pm, Monday 13 March 2023

Become a Sydney Opera House Insider to receive exclusive pre-sale access  

What’s On e-newsletter on-sale 2pm, Monday 13 March 2023

General Public tickets on-sale 10am, Monday 20 March 2023

Wheelchair accessible

Audio loop available

No language barrier

Audio Described Performance

Wednesday 13 September 2023, 1:00pm

An audio description service to enhance the experience of customers who are blind or have low vision is offered for selected performances at the Sydney Opera House. This is a live commentary of the visual elements of a performance, by trained audio describers. Audio description is relayed via a free headset and receiver linked to the FM radio system.

Captioned Performance

Wednesday 20 September 2023, 1:00pm

Captions are text descriptions that display the session's dialogue, identify speakers, and describe other relevant sounds that are otherwise inaccessible to people who are deaf or have hearing loss. Captions will be displayed on a screen or available via your personal device (phone).

Find out more about  accessibility at Sydney Opera House

This performance goes for approximately 2 hours and 40 minutes, including one interval.

Event duration is a guide only and may be subject to change.

Please be aware that this production contains language, and scenes of a sexual and violent nature which may not be suitable for minors. The production also includes strobe lighting, gun shots and pyrotechnics.

Also on this page

Venue information 

Covid-safe information

Frequently asked questions  

Seating map

Download seating map (PDF)

Read this page in your language

西贡小姐 - 简体中文

Direct from the West End and Broadway

Cameron Mackintosh’s acclaimed new production of Boublil and Schönberg’s award-winning musical  Miss Saigon  is one of the most stunning theatrical experiences of our time. Direct from the West End and Broadway, experience this epic love story of passion and tragedy at the iconic Sydney Opera House this August. Seen by 38 million people worldwide, this production is more thrilling than you have ever seen before with critics calling it “spectacular” ( The Times UK ), a “musical masterpiece” ( Classic FM UK ), and “mind-blowingly brilliant’” ( Magic FM UK ). From the creators of  Les Misérables , the soaring musical score features hits including 'The Heat is On in Saigon', 'The Movie in My Mind', 'Last Night of the World' and 'The American Dream'.

Opera Australia presents Cameron Mackintosh's acclaimed new production of Boublil and Schonberg's Miss Saigon

Overture Dining curated by Luke Nguyen

For the perfect start to your night, enjoy a 3-course tasting menu before the show curated by Vietnamese-Australian chef Luke Nguyen. Available before all evening performances of Miss Saigon .

Go backstage with Abigail Adriano

Company members

Billy Bourchier Elizabeth Chan Shannon Cheong Celine Cleveland David Duketis Natasha Dumlao Gelina Enriquez Annie-Lenore Hanman Sara Haruta Leyton Holmes Mikaila Imaguchi Graeme Isaako Patrick Jeremy Hamish Johnston Nicholas Kong Winchester Lopez Grady Lynch Robbie Mejica Matthew Nguyen Bailey Nathan-Park Tetsuya Okubo Atsushi Okumura David Ouch Tony Oxybel  Sam Richardson Annabelle Rosewarne Jack Connor Rowan Trevor Santos Kara Sims Asmara Soekotjo Simon Tichelaar Tamsyn Thomas Louisa Vilinne Sam Ward

Fly on the wings of madness, melancholy, and music in 2023. Opera is never tame. From your seat, you can feel the passion of first love, blossoming in tender duet. Watch devotion descend into desperation with a soprano in full flight. Delight in drama worlds away.

Other information

Frequently asked questions, venue information.

Our foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars. All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers. The public lift to all foyers is accessible from the corridor near the escalators on the Lower Concourse and also in the Western Foyer via the corridor on the Ground Level (at the top of the escalators). Pram parking will be available outside the theatres in the Western Foyer.

The Sydney Opera House Car Park, operated by Wilson Parking, is open and available to use. Wilson Parking offer discounted parking if you book ahead. Please see  their website  for details.

Please check the  Transport NSW website  for the latest advice and information on travel. You can catch public transport (bus, train, ferry) to Circular Quay and enjoy a six min walk to the Opera House. 

The health and wellbeing of everyone attending the Opera House is our top priority. We’re committed to making your experience safe, comfortable and enjoyable, with a number of measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. We remind our audiences and visitors to please stay home if you feel unwell. If you need to discuss your ticketing or booking options, contact our Box Office team on 02 9250 7777.

The health and wellbeing of everyone attending the Opera House is our top priority. We have a number of safety measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. While face masks are no longer required, we ask all our patrons and visitors to practise good hygiene. Please stay home if you feel unwell and read more about our flexible ticket options .

The Sydney Opera House no longer requires patrons to show that they are fully vaccinated against COVID-19.

Ticket purchases and collection at our Box Office is discouraged and eTicket or postal delivery methods should be used, wherever possible. However, if you are collecting your tickets from the Box Office, we recommend doing this at least 60 minutes before the event starts. If you have already received your tickets, the venue doors will be open 45 minutes pre-show for Joan Sutherland Theatre performances, and 30 minutes pre-show for Western Foyer venue performances. Please take your seats as soon as you arrive. 

If you are late, we will seat you as soon as we can and, where possible, in your allocated seat. However, to reduce movement in the venue as well as minimise disruption to the performance and other patrons, ticketholders may be seated in an allocated latecomer’s seat. Please be aware that some events have lock-out periods. In these cases, latecomers will be admitted at a suitable break in the performance. On occasions, this may not be until the interval, or at all where there is no interval. 

Details of our right to refuse admission can be found in our  General Terms and Conditions for Tickets and Events.

In accordance with our venue security procedures, Opera House security will be scanning and checking bags under the Monumental Stairs, prior to entering the building. Bags will be scanned by an x-ray machine, and staff will wear appropriate personal protective equipment (PPE) when handling your belongings, such as gloves. Cloaking facilities will be open 60 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 60 minutes pre-show for Western Foyer venue performances. However it is strongly encouraged that you travel lightly to minimise contact and queuing. Any bags larger than an A4 piece of paper will need to be checked into the Cloak Room.

The authorised agency for this event is the Sydney Opera House.

Only tickets purchased by authorised agencies should be considered reliable. If you purchase tickets from a non-authorised agency such as Ticketmaster Resale, Viagogo, Ticketbis, eBay, Gumtree, Tickets Australia or any other unauthorised seller, you risk that these tickets are fake, void or have previously been cancelled. RESALE RESTRICTION APPLIES. For more details, please refer to our  General Terms and Conditions for Tickets and Attendance at Events.

Please contact Box Office on 9250 7777 as soon as possible to advise if you can no longer attend.

Foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars.

The venue doors will be open 45 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 30 minutes pre-show for Western Foyer venue performances.

Please bring a credit or debit card for any on site purchases to enable contactless payment. You’re welcome to bring your own water bottle but no other food and drinks are permitted inside our venues. Opera Bar, Opera Kitchen and Portside are also available for you to enjoy.

The health, safety and wellbeing of everyone at the Sydney Opera House is our top priority. In line with this commitment, the Opera House became a smoke-free site in January 2022. Read our Smoke-free Environment Policy . 

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