Mahk Making Spaces
Rough beauty, breath, and Korean-Australian making.
Event details
| Date | Time |
|---|---|
| Sunday, 27 September 2026 | 5:00pm |
This is a Free event.
Registration is required.
General Public tickets on-sale
For those requiring assistance, wheelchair or companion seating, accessible seating locations are available. Bookings can be made by calling the Box Office on 1300 764 849 or by email.
This event will be filmed for Archival & Promotional purposes.
Event duration is a guide only and may be subject to change.
Children aged 15 years and under must be accompanied at all times.
The Opera House is committed to the safety and wellbeing of children that visit or engage with us. Read our Child Safety Policy.
Yoon Jung-kang, Goodstage 2025Mahk”…refers to things unrefined or ordinary...Yet within such “roughness” lies sincerity and immediacy, qualities deeply Korean.
Artists
| Role | Name |
|---|---|
| Executive Producer | Bruce Crossman |
| Film Producer | Vincent Tay |
| Music Business Producer | Ying Liu |
| Poetry Producer | Kate Fagan |
| Co-Drama Producer | Anthony Uhlmann |
| Co-Drama Producer | Adam Cook |
| Artist | Cheolyu Kim (South Korea) |
| Artist | Richard Wu |
| Artist/Film/Composer/Vocals | Madison Shakespeare (Gadigal) |
| Artist | Chris Fleming |
| Haegeum | Choi Eunji (South Korea) |
| Gayageum | Lee Eonhwa (South Korea) |
| Percussion | Joshua Hill |
| Erhu | Ying Liu |
| Guzheng | Chuqiao Zhao |
| Guzheng | Yuyan Tang |
| Saxophone/Electronics/Composer | Brendan Smyly |
| Acoustic Guitar/Vocals/Songwriter | John Encarnação |
| Clarinet/Composer | Oliver O’Reilly |
| Percussionist/Kit | Lachlan Blackwood (Wiradjuri) |
| Electronics DJ/Composer | Noel Burgess |
| Poet | Kate Fagan |
| Poet | Eileen Chong |
| Poet | Kim Pham |
| Writer | Alexis Wright (Waanyi) |
| Translator (Chinese) | Jing Han |
| Translator (Korean) | Dae Young Kim |
| Film/Animation | Behrad Rezaei |
| Film/Animation | Greg Hughes |
| Film | Vincent Tay |
| Film | Adam Daniel |
| Film | Emily Rytmeister |
| Film/Live VJ | Kate Richards |
| Composer | Tomoyuki Hisatome (Japan) |
| Composer | Hyelim Kim (South Korea/UK) |
| Composer | Andrián Pertout |
| Composer | Clare Maclean |
| Composer | Bruce Crossman |
Program
Concert
| Work | Name |
|---|---|
| Introduction | Professor Saba Bebawi |
| Sung Welcome to Country | Madison Shakespeare (composer/vocals) (Gadigal) |
| Carpentaria: Will’s Island: The Wash—Chorus 1 (8 actors) & film | Alexis Wright (text), Anthony Uhlmann & Adam Cook (dramaturgs); Actors Centre Australia/Western Sydney University |
| Qilin (solo guzheng) | Tomoyuki Hisatome (composer); Zhao Chuqiao (guzheng) |
| On the Surface of a Stream (guzheng, gayageum) & film | Clare Maclean (composer); Zhao Chuqiao (guzheng) & Lee Eonhwa (gayageum) |
| Comprovisation (saxophone, haegeum, kit) & film | Oliver O’Reilly (composer); Oliver O’Reilly (saxophone), Choi Eunji (haegeum) & Lachlan Blackwood (kit) |
| The Idleness of Fish: twenty-one responses to Richard Wu’s calligraphic paintings (speaker) & film | Eileen Chong (poet) |
| Mulgoa Mahks & Spaciousness (haegeum, percussion) & film | Bruce Crossman (composer); Choi Eunji (haegeum), Joshua Hill (percussion) |
| As Water Flows (erhu, haegeum, gayageum, & guzheng) & film | Ying Liu (composer); Ying Liu (erhu), Choi Eunji (haegeum), Lee Eonhwa (gayageum) & Tang Yuyan (guzheng) |
| INTERVAL | |
| Carpentaria: Gropers: Norm's Responsibility—Chorus 2 (7 actors) & film | Alexis Wright (text), Anthony Uhlmann & Adam Cook (dramaturgs); Actors Centre Australia/Western Sydney University |
New Work (vocals, acoustic guitar, saxophone) & film | John Encarnação (songwriter); Brendan Smyly (saxophone) & John Encarnação (acoustic guitar/ vocals) |
| Blues (erhu, guzheng, kit) & film | Lachlan Blackwood (composer); Ying Liu (erhu), Tang Yuyan (guzheng) & Lachlan Blackwood (kit) |
| The Sound of Emptiness (solo guzheng & electronics) | Andrián Pertout (composer); Zhao Chuqiao (guzheng) |
| New Poem (speaker) | Kim Pham (poet) |
| Electro-Comprovisation (gayageum, saxophone/ electronics) & film | Brendan Smyly (composer); Lee Eonhwa (gayageum), Brendan Smyly (saxophone/electronics) |
| Electroacoustic Composition (taegum-electronics, speaker) & film | Hyelim Kim & Noel Burgess (composers); Kate Fagan (poetry); Hyelim Kim (taegum recording) & Noel Burgess (electronics) |
| Carpentaria: River: From Time Immemorial—Chorus 3 (8 actors) & film | Alexis Wright (text), Anthony Uhlmann & Adam Cook (dramaturgs); Actors Centre Australia/ Western Sydney University |
Artists/Films
| Work | Name |
|---|---|
Carpentaria: Will’s Island: The Wash— Chorus 1 Film | Alexis Wright (text), Vincent Tay (film); Jing Han (Chinese translation); Richard Wu (artworks) |
| On the Surface of a Stream Film | Emily Rytmeister (film); Richard Wu (artworks) |
| Comprovisation 1 Film | Adam Daniel (film); Cheolyu Kim (artworks) |
| The Idleness of Fish: twenty-one responses to Richard Wu’s calligraphic paintings Film | Eileen Chong (text), Vincent Tay (film) & Richard Wu (artworks) |
| Mulgoa Mahks & Spaciousness Film | Eileen Chong (text), Vincent Tay (film); Richard Wu & Cheolyu Kim (artworks) |
| As Water Flows | Vincent Tay, Behrad Rezaei & Lucy Wang (film); Richard Wu (artworks) |
| INTERVAL | |
| Carpentaria: Gropers: Norm's Responsibility—Chorus 2 Film | Alexis Wright (text), Madison Shakespeare (film/artworks); Jing Han (Chinese) |
| New Work Film | John Encarnação (text), Vincent Tay (film); Cheolyu Kim (artworks) |
| Blues Film | Behrad Rezaei (film); Cheolyu Kim (artworks) |
| Electro-Comprovisation Film | Kim Pham (text), Behrad Rezaei & Greg Hughes (film/VJ); Chris Fleming & Cheolyu Kim (artworks) |
| Electroacoustic Composition Film | Kate Fagan (text), Kate Richards (film/VJ); Cheolyu Kim (artworks) |
| Carpentaria: River: From Time Immemorial—Chorus 3 Film | Alexis Wright (text), Vincent Tay (film); Dae Young Kim (Korean translation) & Jing Han (Chinese translation); Cheolyu Kim & Richard Wu (artworks) |
Technical Coordination
| Role | Name |
|---|---|
| Technical Director (sound) | Alexander Frendo |
| Technical Director (film) | Vincent Tay |
| Technical Director (film) | Diego Murillo |
| Technical Director (drama) | Daniel Holdsworth |
Advisory Panel
| Role | Name |
|---|---|
| Head of Discipline (Creative Production and Performance), School of Arts, WSU | Bruce Crossman |
| Dean, School of Arts, WSU | Saba Bebawi |
| Director, Writing and Society Research Centre, School of Arts, WSU | Kate Fagan |
Business Operations Coordinator, School of Arts, WSU | Marian Schraishuhn |
| Program Lead, Film, School of Arts, WSU | Vincent Tay |
| Program Lead, Drama, School of Arts, WSU | Anthony Uhlmann |
| Design & Animation, School of Arts, WSU | Behrad Rezaei |
| Administration Assistant, School of Arts, WSU | Monib Sanai |
| Director, Institute for Australian and Asian Arts & Culture, WSU | Jing Han |
| Department of Korean Music, College of Music, Seoul National University, South Korea | Noh Eunah |
| Department of Korean Music, College of Music, Seoul National University, South Korea | Choi Eunji |
| Director, Redbase Contemporary, Sydney | Nancy Nan |
| Gallery Manager, Redbase Contemporary, Sydney | Daniel Press |
| Jiayin Management Pty Ltd | Ying Liu |
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Attending this event
Practical information about this event, ticketing and visiting. If you have questions or need help, see our general terms and conditions for tickets and events or contact us.
Ticket information
If you have further questions or need help, please refer to our General Terms and Conditions for Tickets and Events or contact a member of our team on 1300 SOH TIX.
A resale restriction is in place, meaning it is unlawful for a person to resell their ticket for more than 110% of the face value. In all cases, it is advisable that tickets are only purchased from authorised channels, to protect your rights should the event be cancelled or postponed and to be sure you receive all necessary communications.
The authorised agency for this event is listed under ticket pricing. 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.
A booking fee of $8.95 applies per transaction. Prices are correct at the time of publication and subject to change without notice. Exact prices will be displayed with seat selection.
Children aged 15 years and under must be accompanied at all times. Babies aged 0-2 years old at the time of a performance may be seated on an adult’s lap. Children two years and older will need to hold a standard ticket.
Please contact Box Office on 1300 SOH TIX as soon as possible if you are unable to attend.
eTicket or postal delivery should be used wherever possible. Tickets will be emailed three days prior to the event. Download your e-Ticket and have it ready on your mobile device for scanning before you queue to enter the venue.
At the venue
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. All Sydney Opera House foyers are accessible, with lift access to the main and western foyers.
The Opera House is committed to the safety and wellbeing of children that visit or engage with us. Read our Child Safety Policy. The Opera House has also developed a Child-friendly Code of Conduct to engage with our youngest visitors.
The health, safety and wellbeing of everyone at the Sydney Opera House is our top priority. In line with this commitment, the Opera House is a smoke-free site. Read our Smoke-free Environment Policy.
The safety and security of patrons, visitors and staff is our highest priority. Entry to venues inside the Opera House including theatres, the Utzon Room, the Centre for Creativity and Bennelong Restaurant is via a single entry point located under the Monumental Steps.
In line with our venue security procedures, all ticketholders must present their bags and personal belongings for visual inspection or x-ray screening prior to entering the building.
We hope all our audience members, including those children with us, have a wonderful time. Please keep disturbances to a minimum. Ticketholders who interfere unreasonably with another’s enjoyment may be asked to leave.
If your child becomes unsettled during the performance, we ask that you step outside with them until they settle. Note that you may not be readmitted until there is a suitable break in the performance.
Filming and photography is not permitted inside the venue, unless expressly authorised by us. You must switch your mobile phone off or to silent while in the venue.
Refreshments are available to purchase from our theatre bars, with foyers open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances.
The Opera House has a range of restaurants and bars on site. Explore our venues.
Cloaking facilities will be open 60 minutes pre-show. It is strongly encouraged that you travel lightly. Larger items – including handbags bigger than A4-size, backpacks, umbrellas, suitcases and prams – are not permitted inside the venues and must be cloaked.
Yes, pram parking is available outside our theatres. All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers.
Foyer doors are usually open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 120 minutes pre-show for Western Foyer venue performances.
Theatre doors will open 30 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 15 minutes pre-show for Western Foyer venue performances.
If you’re collecting your tickets from the Box Office, we recommend doing this at least 60 minutes before the event starts.
We’ll aim to 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.
Where an event has a lock-out period, 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.
Location and access
Utzon Room
The Utzon Room is located on the Eastern side of the Opera House, in front of the Joan Sutherland Theatre. Best accessed through the Box Office Foyer or the Covered Concourse. All Sydney Opera House foyers are 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).