The Longest Nights
A white rhinoceros and a penguin find an unlikely friendship during one very long night
Event details
| Date | Time | Notes |
|---|---|---|
| Wednesday, 30 September 2026 | 6:30pm | |
| Thursday, 1 October 2026 | 6:30pm |
Post-show artist talk will run for approx. 20 mins after this show |
| Friday, 2 October 2026 | 2:00pm | |
| Friday, 2 October 2026 | 6:00pm |
| Standard Ticket | Price |
|---|---|
| Premium | $45 |
| A Reserve | $40 |
| SOH Insiders Ticket | Price |
|---|---|
| Premium | $40 |
| A Reserve | $36 |
| Groups 4+ | Price |
|---|---|
| Premium | $40 |
| A Reserve | $36 |
$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
9am, Tuesday 7 July 2026
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What’s On e-newsletter pre-sale
9am, Wednesday 8 July 2026
General Public tickets on-sale
9am, Thursday 9 July 2026
Bilingual surtitles: This performance is surtitled in both Korean and English for a complete bilingual experience.
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.
Recommended 7+
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.
Audience member, 17A story about both your family and the family you make, capturing a sense of childlike wonder. Beautiful!
About the cast and creatives
As a writer and director, she explores personal narratives and sensory experiences that exist beneath established traditions and collective histories. Grounded in pansori, she reimagines traditional Korean vocal storytelling through a contemporary lens, creating original works that bridge literature, music and performance.
Selected Works & Activities
- The Longest Nights – Adapter and Director, PAMS Choice (2024)
- Pansori Les Misérables – Passengers of the 99 Ship – Writer and Director, Quad Choice (2024)
- The False Room – Director (2023)
- Light – Gaze at the Border – Co-creator (2022)
She has participated in major international performing arts festivals, including the Taiwan Traditional Theatre Festival (Taiwan, 2026) and the Théâtre Nohma International Prize Teresa Pomodoro XVII (Italy, 2026).
She creates contemporary works that combine pansori with music, theatre and interdisciplinary performance. Through her artistic practice, she continues to expand the form and structure of traditional pansori within contemporary performance. Drawing on traditional Korean music, she collaborates with artists across diverse disciplines while exploring the evolving possibilities of pansori in a contemporary context.
She is also an Adjunct Professor in the Department of Korean Traditional Music at Hanyang University, where she is dedicated to nurturing emerging artists and developing contemporary approaches to traditional arts.
Selected Works & Activities
- The Longest Nights – Composer, Music Director and Performer, PAMS Choice (2024)
- Pansori Les Misérables – Passengers of the 99 Ship – Co-creator and Performer, Quad Choice (2024)
She has participated in major international performing arts festivals, including the Taiwan Traditional Theatre Festival (Taiwan, 2026), the Théâtre Nohma International Prize Teresa Pomodoro XVII (Italy, 2026), the Sydney Festival (Australia, 2015) and the Festival Internacional Cervantino (Mexico, 2022).
A member of IPKOASON, she began studying pansori at the age of 10 under the guidance of pansori masters Jo Sonyeo, Jeong Hoeseok and Song Sunseop. Known for her clear and resonant voice, she brings a restrained emotional style and minimal stage gestures to her performances, offering a contemporary interpretation of traditional pansori.
She actively engages in collaborative, co-creation-based processes within IPKOASON, working across disciplines with artists including Ahn Eun-me, MUTO and Cho Yoon-sung.
Selected Works & Activities
- Pansori Les Misérables – Passengers of the 99 Ship – Co-creator and Performer, Quad Choice (2024)
- Doosan Art Center DAC Artist, Dreaming Person Series (2018)
She has participated in major international performing arts festivals, including the Taiwan Traditional Theatre Festival (Taiwan, 2026), the Théâtre Nohma International Prize Teresa Pomodoro XVII (Italy, 2026) and the Festival Internacional Cervantino (Mexico, 2022).
With a career built on years of experience in the performing arts, he has developed a versatile acting practice that moves seamlessly between stage productions, film and television. Drawing on his extensive performance experience, he brings warmth, sensitivity and dynamic physicality to his work.
Selected Theatre Works
- Play with Hamlet
- Macbeth Requiem
- The Man from Oslo
- Roadkill in the Theater
- The Tragedy of X
In film, Jo appears in: Zombucha, Revolt (short), Strangers in the Night (short), On Hold (short), Truth, You Can’t Stop the Murders. His TV includes: Doctor Blake, CAMP, Home and Away, All Saints, White Collar Blue. Theatre credits include: Henry V, Antony And Cleopatra, The Merchant of Venice (Bell), The Resistance (ATYP), Evie May (Hayes), Hysteria (Eternity Playhouse), Railway Wonderland (NORPA), The Ugly One (Griffin), Ruby Moon, Thyestes, Howard Katz (STC), The 39 Steps (Kay & McLean), Somewhere: The Magical Musical of Penrith (Q Theatre), The Caucasian Chalk Circle (Belvoir), Emma’s Nose (La Boite), Plainsong (Black Swan), The Imaginary Invalid (Ensemble). Jo’s directing work includes: The Girl Who Glows (The Street), Small Mouth Sounds, The Hypochondriac, Deathtrap (Eternity), Betoota Advocate Roadshow (SOH), Ruby’s Wish (Belvoir, SOH), Avenue Q (Enmore), Prison Songs (Darwin Fest), The Graduate (Her Majesty’s Melb), Grief Parlour (Clockfire), Fools Island (STC Ed). Writing/co-writing credits: The Girl Who Glows, Ruby’s Wish, In a Heart Beat, In Search of the Time and Space Machine, Ishmael and the Return of the Dugongs. In 2026 The Girl Who Glows is nominated for an AWGIE.
Holly Austin is an award-winning Australian multi-disciplinary performer known for her distinctive vocal dexterity and bold, playful approach to theatre-making. A NIDA graduate, she works across theatre, television, film and live performance as an actor, writer and creator. Her recent credits include Cyrano (Melbourne Theatre Company), Deadloch (Amazon Prime), and Play School. Holly is the co-creator of Ruby’s Wish, the acclaimed solo work Dr AudiYO’s Giant Adventure, and is currently developing Kite Choir: A Global Sky Symphony, a large-scale participatory artwork amplifying children’s voices through sound and flight.
Yujun Lee is a drummer and percussionist whose work bridges contemporary Korean music and global rhythmic traditions. He is a member of the three-piece indie band Who the Spicy, known for blending Afrobeat and funk rhythms with a distinctly Korean sensibility. In May 2026, the band released its second album, Three. He has expanded his musical career across diverse genres, working in musicals, orchestras and pansori-based projects.
Selected Works
- Featured artist on OnStage 2.0 (Naver)
- Performer at Pentaport Rock Festival
- Drummer for People of Guguseon by IPKOASON
- Performer with Gyeonggi Sinawi Orchestra (Songs of the Four Seasons)
- Drummer for the musicals Moulin Rouge, Hongryeon and Memphis
About IPKOASON
IPKOASON is a collaborative Pansori ensemble of singers and drummers from Korea. Their name combines the Korean words for a singer's mouth ("ip") and a drummer's hand ("son"), reflecting the essential partnership at the heart of Pansori. Bringing together artists from a wide range of productions and creative backgrounds, the group explores bold and boundary-crossing approaches to contemporary Pansori. Through ongoing experimentation and collaboration, IPKOASON seeks to reimagine traditional art forms while preserving the depth and spirit of classical storytelling. Their work continually develops new creative processes, original Pansori productions, and performances that highlight each artist's unique musical voice and thematic vision.
Why the Wild Things Festival Curator loves this showThis is one of the most exciting productions we have ever collaborated on, bringing together Korean and Australian artists to explore whether we could create a performance that speaks to different ages and languages.
Cast and credits
Cast
Sorikkun Seunghee Lee
Actor Sanghong Lee, Jo Turner, Holly Austin
Gosu Hyangha Lee
Musician Yujun Lee
Creative Team
Original work LULY (The Longest Nights, published by Munhakdongne)
Adapter and director Sangsook Ri
Dramaturg, Script translator and interpreter Kyunghoo Lee
Music director and composer Hyangha Lee
Song composer Seunghee Lee
Movement director Neongcool Park
Set designer Seungjun Jeong
Light designer Yujin Lee
Sound designer Taesoon Jang
Costume designer Eunkyung Lee
Stage manager Kyusoo Lim
Producer and tour manager Soyoung Son
More for wild adventurers (ages 7-10)
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. 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
Studio
The Studio is located in the north-western corner of Sydney Opera House, best accessed through the Western Foyers.