What the Ocean Said James Brown, Alice Osborne and collaborators
A sensory world of projections and vivid storytelling
Event details
| Date | Time |
|---|---|
| Saturday, 31 October 2026 | 11:00am |
| Saturday, 31 October 2026 | 12:30pm |
| Saturday, 31 October 2026 | 3:00pm |
| Saturday, 31 October 2026 | 4:30pm |
| Sunday, 1 November 2026 | 11:00am |
| Sunday, 1 November 2026 | 12:30pm |
| Sunday, 1 November 2026 | 3:00pm |
Ticket | Price |
|---|---|
| Standard | $28 |
$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. Children aged 15 years and under must be accompanied at all times.
The authorised agency for this event is Sydney Opera House. For more information about Authorised Agencies, see the frequently asked questions below.
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9am, Tuesday 11 November 2025
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9am, Wednesday 12 November 2025
General Public tickets on-sale
9am, Thursday 13 November 2025
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.
A social story provides information about what to expect when attending a venue or show. It has short descriptions with images. See the Centre for Creativity Social Story.
Event duration is a guide only and may be subject to change.
Young people under the age of 15 must be accompanied at all times.
Under 12 months (babes in arms) admitted free of charge and do not require a ticket - all other attendees require a paid ticket.
The Opera House is committed to the safety and wellbeing of children that visit or engage with us. Read our Child Safety Policy.
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About the artists
James Peter Brown is known for his evocative and diverse music scores and sound designs. He has worked across a range of genres, from mainstage theatre and contemporary dance to film, documentary, animation, video games and virtual reality. His processes often involve creating music and sound in synchronicity with the development of a project, building connections between performance material and sound.
James’ collaborations with directors and producers often explore ethereal, emotive experiences that become part of the deeper exploration of character and storytelling.
He has developed continuing artistic relationships with artists and companies including Sydney Theatre Company (Constellations, Do Not Go Gentle, Lord of the Flies, Mosquitoes, The Deep Blue Sea, The Real Thing, Home I’m Darling) Bethesda (Fallout 4, Fallout 76, Fallout Shelter) Victoria Hunt (Tango Wai, Copper Promises) ERTH (Duba, Badu, Winter Camp, The Liminial Hour, Prehistoric Aquarium VR) SOIT (The Lee Ellroy Show, Messiah Run, We Was Them, Nomads) POST (Ich Nibber Dibber, Oedipus Schmoedipus) and Kristina Chan (A Faint Existence, Mountain, Brightness). He holds a Bachelor of Visual Arts from Sydney College of the Arts, in which his focus was on composition and sound design for animation. He also holds a Master of Acoustic Physics from The University of Sydney, for which his thesis was on the physiological effects of low frequency sound on the body and mind.
Alice Osborne is a director, theatre maker and puppeteer. For Sydney Opera House, Alice has collaborated with primary school students in Western Sydney to create performance and film within the Creative Leadership in Learning program. Alice was Puppetry and Movement Director for THE WEEKEND and RUBY’S WISH (Belvoir St Theatre), the Australian production of WAR HORSE (National Theatre of Great Britain), THE SPLINTER (Sydney Theatre Company), DIARY OF A WOMBAT, POSSUM MAGIC and EDWARD THE EMU (Monkey Baa), ALPHABETICAL SYDNEY and BLACK SUN/BLOOD MOON (Critical Stages), and Justine Clarke’s LOOK LOOK IT’S A GOBBLEDYGOOK. As Performer, Alice was a member of Compagnie Philippe Genty (Paris), and My Darling Patricia (Sydney). She co-created and performed FALLING WOMAN (Performance Space). Her television credits as Puppeteer include DIDI & B (Nickelodean), ME & MY MONSTERS, FIVE MINUTES MORE, FARSCAPE (The Jim Henson Company), and THE UPSIDE DOWN SHOW (Sesame Workshop). Alice holds a Bachelor of Theatre/Media from Charles Sturt University, Bathurst. She also holds a Master of Occupational Therapy, from The University of Sydney, and is a registered Occupational Therapist working in inpatient mental health.
Solomon Thomas is a theatre maker and performer currently situated in Sydney. He explores the intersection between the physical and digital in theatre, experimenting with how theatre and film can co-exist in a live context. He works as a performer, puppeteer, theatre maker and video designer and is driven by how these practices meet formally.
He graduated with BCA Honours in Performance from the University of Wollongong in 2013 and for the past six years has been actively engaged in creating and performing work for both independent and main stage theatre. He is a core member of re:group performance collective, Monday Night Cards and Woodcourt Art Theatre. His collaborations include Jackson! Le Diner Est Pret! (Woodcourt Art Theatre, 2013), The Encounter (Adelaide Fringe, 2014 and La Mama, 2016, LOVELY (PACT, 2015), Tom William Mitchell (Woodcourt Art Theatre, 2017 and Merringong, 2018), Kraken Play (Crack Theatre Festival, 2017), Spacejunk (Sydney Observatory, 2018), Lifestyles of the Richard and Family (Next Wave, 2018) and Return to Escape From Woomera (Liveworks, 2018). Solomon has worked as a performer on Nick Cave’s Heard (Sydney, 2016), My Darling Patricia's The Piper (Sydney Festival, 2014 and the Edinburgh Fringe, 2015) and in development with Branch Nebula, Applespiel, Studio A, Chiara Guidi, and Erth. Solomon is currently a puppeteer with Erth Visual & Physical Inc (2014-19) and has toured with them throughout the UK, UAE, Hong Kong, Singapore, Australia and Japan.
Angus Callander is a visual artist and designer based in Sydney. His art practice focuses on how the visual language of modernism can be reappropriated to influence our understanding of the physical world and the overlay of information we impose on it. His work crosses the mediums of painting, sculptural construction and digital animation. He graduated from The University of Sydney in 2012 with a Bachelor of Design in Architecture and in 2015 graduated from the National Art School with a Bachelor of Fine Art majoring in painting. As a designer he works across architecture, film, TV and theatre.
Raised in Griffith NSW, in the heart of Wiradjuri nation, Micaela pursued her passion for the arts from a very young age - her first one-woman show being in the living room of her grandmother's house.
Since then, she has nurtured skills in painting, writing, music and teaching, all contributing towards her ambitions as an artist and story teller.
Before graduating from NIDA, Micaela studied at a variety of acting schools including Actors Centre Australia, Screenwise and her high school The McDonald College of Performing Arts, and since has continued her training internationally and locally.
Recent credits include The Snail and the Whale (CDP Productions), A Play In a Day – The Changeling (Bell Shakespeare), Cool Pool Party 2: The Second (BanShakespeare), Heroes of The Fourth Turning (Outhouse Theatre Company), Experiments of Theatre and Cinema (Riverside Parramatta) and a number of short films
Cast and creatives
Written and directed by
James Brown and Alice Osborne
Concept and musical score
James Brown
Video design
Solomon Thomas
Set design
Angus Callander
Performer
Micaela Ellis
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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
Centre for Creativity
The Centre for Creativity is located at the end of the Western Foyers, next to the Drama Theatre. Best accessed through the Western Foyers entry.
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).