Christmas Carol Goes Wrong
Twas’ the night before Christmas, and all through the theatre…everything was going terribly wrong
Event details
| Date | Time | Notes |
|---|---|---|
| Thursday, 17 December 2026 | 1:30pm | |
| Thursday, 17 December 2026 | 7:00pm | |
| Friday, 18 December 2026 | 7:00pm | |
| Saturday, 19 December 2026 | 1:30pm | |
| Saturday, 19 December 2026 | 7:00pm | |
| Sunday, 20 December 2026 | 1:30pm | |
| Sunday, 20 December 2026 | 7:00pm | |
| Tuesday, 22 December 2026 | 1:30pm | |
| Tuesday, 22 December 2026 | 7:00pm | |
| Wednesday, 23 December 2026 | 7:00pm |
Auslan interpreted and Audio Described |
| Thursday, 24 December 2026 | 1:30pm | |
| Thursday, 24 December 2026 | 7:00pm | |
| Saturday, 26 December 2026 | 1:30pm | |
| Saturday, 26 December 2026 | 7:00pm | |
| Sunday, 27 December 2026 | 1:30pm | |
| Sunday, 27 December 2026 | 7:00pm | |
| Monday, 28 December 2026 | 6:00pm | |
| Tuesday, 29 December 2026 | 1:30pm |
Pre-Christmas Prices Valid for performances 17 - 24 December 2026 | Price |
|---|---|
| Premium | $149.90 |
| A Reserve | $134.90 |
| B Reserve | $114.90 |
| C Reserve | $79.90 |
Post-Christmas Prices Valid for performances 26 - 29 December 2026 | Price |
|---|---|
| Premium | $134.90 |
| A Reserve | $119.90 |
| B Reserve | $99.90 |
| C Reserve | $69.90 |
$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.
The only authorised ticket agency for this event is Sydney Opera House. For more information about Authorised Agencies, see the frequently asked questions below.
Sydney Opera House Insiders pre-sale
Become a Sydney Opera House Insider to receive exclusive pre-sale access
What’s On e-newsletter pre-sale
General Public tickets on-sale
Audio Described performance
Wednesday 23 December 2026 7:00pm
Tactile Tour, 6:00pm
Audio description is a live commentary for people who are blind or have low vision of the visual elements of a performance which is relayed to the patron via a free headset and receiver linked to the FM radio system. A pre-show Tactile Tour allows hands on access to costumes, props and stage set in order to capture the atmosphere of the work.
Book online using the Audio Description price type.
Auslan Interpreted performance
Wednesday 23 December 2026 7:00pm
Experienced Auslan theatre interpreters stand to the side of the stage and translate what the actors are saying or singing into Auslan. A block of seats is reserved for users of this service to ensure a good view of the interpreter and the stage.
To book, use the link below, call the Box Office on 1300 764 849 or email bookings@sydneyoperahouse.com
Book online
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.
Age recommendation 10+
Please note: Christmas Carol Goes Wrong features slapstick comedy, mild innuendo, and comic physical action. Further advisories will be updated closer to the time.
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.
WhatsOnStageAn irresistible Christmas treat!
The GuardianA Dickensian disaster to savour
Time OutThe whole crowd is in hysterics
Gallery
of
Cast
After more than 20 years working across theatre, film, television, musical theatre and as a voiceover artist, Douglas has amassed a remarkable and wide-ranging list of credits, both in Australia and the UK. He recently appeared as Philip Stuckey in the Australian tour of Pretty Woman The Musical for Jones Theatrical. In 2024 he originated roles in two new major musicals in London: Leopold Mozart in Saving Mozart (The Other Palace) and Count Pietro d’Orozco in Stiletto (Charing Cross Theatre) for the Robert Stigwood Organisation. He was an original cast member of the Australian production of Come From Away, performing the role of Kevin T more than 750 times and can currently be seen on Disney + in the Russell T Davies series The War Between The Land and The Sea.
In 2010, Joe graduated with a Bachelor of Arts (Music Theatre) from the University of Ballarat Arts Academy. The following year, he founded the internationally acclaimed comedy group: Aunty Donna (Netflix, ABC). Joe’s recent stage credits include Robert in The Play That Goes Wrong, Dr Jim Cairns in The Dismissal (Sydney), Oz & Others in Come From Away (Australian Tour), Shrek in Shrek The Musical (Australian Tour), Dewey Finn in School of Rock the Musical (Australia, New Zealand, China), Errol in the 10th Anniversary Australian tour of Priscilla Queen of the Desert, Barry in High Fidelity (The Hayes) for which he was nominated for a Sydney Theatre Award for Best Performance in a Supporting Role in a Musical, and lovable antagonist Don in the Australian tour of Kinky Boots. Previously, Joe played Sergeant Kennedy in NED – A New Australian Musical, and toured nationally in California Dreaming and with The Songs of Ahrens and Flaherty. He also portrayed the role of ‘Barrel’ in the new Australian musical CrossXroads and performed in the Melbourne premiere of Matthew Lee Robinson’s Sing On Through Tomorrow.
After having appeared in the 2025 touring production of The Play That Goes Wrong (GMG Productions), Brodie is thrilled to return to the delightfully chaotic world of the Cornley Drama Society once again as Jonathan. Most recently, Brodie took a trip back to high school for the Australia & New Zealand tour of Heathers the Musical (GMG Productions), where he played Kurt’s Dad/Veronica’s Dad/Principal Gowan, and was also the Resident Director. Brodie holds a Cert IV in Music Theatre from WAAPA, and a BFA in Acting from NIDA. Since graduating from NIDA in 2020, he has also appeared in a number of stage productions in Sydney, including Josephine Wants to Dance (Monkey Baa Theatre), tick, tick...BOOM! as Jon (The Old Fitz), and 35mm: A Musical Exhibition and The Mystery of Edwin Drood (Little Triangle), as well as Turandot and Ernani with Opera Australia.
Anthony Craig is a versatile performer and multi-instrumentalist, known for his banjo playing, character work and comic flair. After completing a degree in Musical Theatre at the Queensland Conservatorium in 2014, he went on to gain international experience in feature films and stage productions. Recent credits include The Play that Goes Wrong (GMG/Stoddard), Elvis: A Musical Revolution (DVE), Once (Darlinghurst Theatre Company), The Grinning Man (Salty Theatre), You & Me and the Land of Lost Things (CDP Productions), A Very Naughty Christmas (Woodward Productions) and feature film Woody Woodpecker Goes to Camp (Universal).
Originally from Adelaide, Zak (he/him) is a comedian and musical theatre performer with a Bachelor of Fine Arts (Music Theatre) from the Victorian College of the Arts (VCA). Prior to studying at VCA, he trained full-time in dance at Gravity Dance in Adelaide. His stand-up comedy show Twinky Twinky Little Star has played at festivals including Adelaide Fringe, Melbourne Fringe, and Melbourne International Comedy Festival, earning him both an Adelaide Fringe Emerging Artist Award and the Sarah Rohrsheim Adelaide Fringe Fellowship Award. Zak has also worked as an emcee for circus variety shows in Sydney, including Twisted Tales and Deal Me In. His previous theatre credits include The Last Sunday in June (Firerock Productions) and The 3 Little Pigs (AG Theatre). Whilst at VCA, Zak performed in Sweet Charity, and The Hello Girls. Zak is delighted to be making his professional debut in Christmas Carol Goes Wrong.
Jack Buchanan trained at Toi Whakaari: NZ Drama School, graduating in 2013. He most recently toured Australia and New Zealand as an understudy in The Play That Goes Wrong, covering six roles. Other theatre credits include Don Juan, Jekyll & Hyde and The Trojan War (A Slightly Isolated Dog, touring UK/Australia), Night of the Living Dead, Homos, or Everyone in America, Our Own Little Mess, Cock and Peer Gynt [Recycled]. Screen credits include Brokenwood Mysteries, Power Rangers, Catching the Black Widow and Why Does Love. Jack is also a musician and writer, releasing music as Goblin Problem and with indie band Cheap Sav For Dead Friends. In 2020 he created the viral video Family Lockdown Boogie, viewed over 15 million times.
Melanie Bird is a Melbourne-based performer, most recently appearing as Gertie/Blanche in My Brilliant Career (Melbourne Theatre Company).
Her other theatre credits include Deb in Ordinary Days (Clovelly Fox Productions) for which she was Green Room Award nominated for Outstanding Performance in a Leading Role, Sister Act: The Musical (Crossroads Live), Paquette in Candide (Victorian Opera), Jess in A Christmas Carol (GWB/The Old Vic), Tiffany in Midnight (Aspect Entertainment), Anne Egerman in A Little Night Music, Nellie/Lucy cover in Jekyll and Hyde (Hayes Theatre Company), Natalie Goodman in Next to Normal (James Terry Collective) and Princess Josiana in The Grinning Man (Salty Theatre) which garnered her a Green Room Award nomination for Outstanding Artist in a Supporting Role.
Jess Rogers is a Melbourne-based singer and entertainer who regularly performs at events and in theatre productions. She trained in Musical Theatre at Emil Dale Academy in the UK. Her recent credits include Sweeney Todd at Chapel Off Chapel, The Music Man at the Kiri Te Kanawa Theatre, and the New Zealand and Middle East tours of Shrek The Musical.
Jess is a member of The Cover Girls, a vintage vocal harmony trio, and regularly performs internationally as a guest entertainer on cruise ships. She also co-owns Lumen Duo with her partner, Jack. Together, they hold three Melbourne residencies and perform at events and private functions.
Mike is a graduate of Actors Centre Australia and the MA Acting program at the Royal Central School of Speech and Drama in London. Since returning to Sydney, Mike has worked extensively on the MainStage with Bell Shakespeare, having appeared in A Midsummer Night’s Dream, Hamlet, The Comedy of Errors and Twelfth Night. Some other theatre credits include Tongue Tied at Kings Cross Theatre; The Taming of the Shrew (Playwrought Projects) at Wharf 2, Sydney Theatre Company; and The Man as part of the Sydney Fringe and The Old Fitz Theatre season. Some film credits include The Biden Effect, produced by Bay Rock Films, and feature film Companion, directed by Raghuvir Joshi and produced by Dev Patel.
Tim Carroll is a versatile stage and screen actor whose work spans theatre, musical theatre, opera, film and television. A graduate of the Queensland Academy of Excellence in Musical Theatre (QAEMT), Tim has since undertaken further training in stage and screen performance in New York and London. On stage, Tim has worked with companies including La Boite Theatre Co, Opera Queensland, shake & stir theatre co, Queensland Theatre Company, The Little Red Co and CDP. His recent credits include the Australian tours of James and the Giant Peach, Fancy Long Legs and Christmas Actually.
Marlena Thomson is a Melbourne based performer originally from the Blue Mountains and a graduate of the Victorian College of the Arts (VCA) where she completed a BFA in Music Theatre. Whilst at VCA, she performed in a number of productions including Urinetown as Little Becky Two-Shoes (dir. Trudy Dunn), Merrily We Roll Along as K.T. (dir. Jason Langley), and Hello Again as The Actress (dir. Tyran Parke). More recently, Marlena played Juliet in Melbourne Shakespeare Company’s Romeo and Juliet (dir. Emma Austin), #8 in Theatre Works’ The Wolves and Frenzy Theatre Company’s The Roof is Caving In (dir. Belle Hansen). Marlena is represented by Emma Raciti Management and is a proud member of MEAA.
Most recently seen as a Swing, Anya cover and Lily cover on the national tour of Anastasia (Opera Australia/Xroads), Manon previously performed to critical acclaim as Announcer in the award-winning world premiere of Phar Lap: The Electro Swing Musical (Hayes Theatre Company). Manon’s other professional credits include standby Lana in No Love Songs (New Theatricals), Janice & Others in the Australian tour of Come From Away (New Theatricals), Gingy in Shrek the Musical (GFO), Cheryl in the world premiere of Muriel’s Wedding the Musical (Sydney Theatre Company/Global Creatures), Joanie Heslop in the Australian tour of Muriel’s Wedding the Musical (Global Creatures), Hatchetface in Cry-Baby (Hayes Theatre/LPD), Girl in Incredibilia (Kim Carpenter Productions) and Swing in Flat Earthers The Musical (Hayes Theatre Company). Manon is excited to join the company of Christmas Carol Goes Wrong and would like to thank Working Management for their ongoing support.
You may also like
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 764 849.
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 three (3) 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
Information to help you arrive at the venue on time and prepared for your show.
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. Our walk-through scanners are safe for patrons with pacemakers, cochlear implants or similar devices. Please let security know if you prefer alternative screening.
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
Concert Hall
The Concert Hall is located beneath the largest of Sydney Opera House’s roof sails, filling the upper levels of the west side of the building. Best accessed through 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).