1 00:00:00,040 --> 00:00:02,759 Speaker 1: I thrilled to have in the studio with me. Glenn Nicholas, 2 00:00:02,759 --> 00:00:05,600 Speaker 1: who of course is a well known name here in 3 00:00:05,640 --> 00:00:08,200 Speaker 1: South Australia, can remember going to see a show of 4 00:00:08,320 --> 00:00:12,560 Speaker 1: visit the Dunstan Playhouse, I reckon many years ago talking 5 00:00:12,560 --> 00:00:17,440 Speaker 1: mid eighties, So forty years ago, Glynn, you. 6 00:00:17,400 --> 00:00:21,120 Speaker 2: Make me feel how old do you think? Yeah? I 7 00:00:21,160 --> 00:00:21,640 Speaker 2: was seven. 8 00:00:22,079 --> 00:00:25,000 Speaker 1: Ye, well I was around twenty at the time, so 9 00:00:25,120 --> 00:00:28,600 Speaker 1: that you know, will a bit under. But anyway, comedy 10 00:00:28,600 --> 00:00:30,160 Speaker 1: has been your thing all the way through, hasn't it. 11 00:00:30,200 --> 00:00:34,479 Speaker 1: Any Yeah, you're back with a show. I want to 12 00:00:34,520 --> 00:00:36,040 Speaker 1: know what have you been doing in the years since, 13 00:00:36,040 --> 00:00:38,240 Speaker 1: because you kind of disappeared, you faded away. 14 00:00:38,479 --> 00:00:42,680 Speaker 2: Well, I kind of did. I took the foot off, 15 00:00:42,720 --> 00:00:47,800 Speaker 2: accelerated when it came to the performing really to sort 16 00:00:47,840 --> 00:00:52,559 Speaker 2: of care for the little ones. Yep, and I I 17 00:00:52,640 --> 00:00:55,440 Speaker 2: just wanted to be around when they were little. But 18 00:00:55,480 --> 00:00:59,040 Speaker 2: I've still been working over the last few years as 19 00:00:59,240 --> 00:01:04,160 Speaker 2: a producer and this new project that we're doing comes 20 00:01:04,240 --> 00:01:10,480 Speaker 2: under that label. But look, I've always been I've always 21 00:01:10,520 --> 00:01:13,119 Speaker 2: loved performing and in the last few years I've been 22 00:01:13,280 --> 00:01:17,000 Speaker 2: occasionally going on, please forgive me, but I've been going 23 00:01:17,040 --> 00:01:20,040 Speaker 2: on to cruise liners to entertain. So you do two 24 00:01:20,080 --> 00:01:23,639 Speaker 2: forty five minute shows entertain the punters, and that keeps 25 00:01:23,720 --> 00:01:26,880 Speaker 2: my hand in, so to speak. But I've sort of 26 00:01:26,959 --> 00:01:29,840 Speaker 2: drifted more towards the producing in particularly this sort of 27 00:01:29,880 --> 00:01:32,920 Speaker 2: project that we want to talk about today, because for me, 28 00:01:33,280 --> 00:01:36,039 Speaker 2: that's got a lovely scope to it and a lovely 29 00:01:37,440 --> 00:01:39,840 Speaker 2: I don't know what's behind it is very very important 30 00:01:39,880 --> 00:01:40,080 Speaker 2: to me. 31 00:01:40,319 --> 00:01:44,000 Speaker 1: Let's talk about it about making musical theater affordable again. 32 00:01:45,160 --> 00:01:49,160 Speaker 1: The song Contest almost Eurovision is the name of the show. 33 00:01:49,480 --> 00:01:52,720 Speaker 2: Yes, to homage to the Eurovision Song Contests, as the 34 00:01:52,720 --> 00:01:58,200 Speaker 2: title might suggest, except ours is intentionally funny, non accidentally 35 00:01:59,600 --> 00:02:04,440 Speaker 2: and are very got a rich source of inspiration from 36 00:02:04,520 --> 00:02:08,280 Speaker 2: Eurovision itself. So it's the actual show. We'll talk about 37 00:02:08,320 --> 00:02:11,120 Speaker 2: that first. The actual show is it's like being at 38 00:02:11,160 --> 00:02:14,360 Speaker 2: the Grand Final of the Eurovision Song Contests. Instead of 39 00:02:14,360 --> 00:02:18,480 Speaker 2: twenty six countries competing, we have eleven saves on time, 40 00:02:19,160 --> 00:02:22,119 Speaker 2: and the voting is real, the audience votes on the night. 41 00:02:22,400 --> 00:02:25,880 Speaker 2: It's been described as a cross between a sporting event 42 00:02:27,639 --> 00:02:34,320 Speaker 2: and a cheesy snack and a concert because Eurovision itself 43 00:02:34,400 --> 00:02:36,760 Speaker 2: is it's like a glorified sort. 44 00:02:36,639 --> 00:02:38,360 Speaker 1: Of concert, you know, sort of ultimately. 45 00:02:39,600 --> 00:02:43,800 Speaker 2: But what lies beneath it that I'm excited about is 46 00:02:43,880 --> 00:02:47,160 Speaker 2: that the Eurovision Song Contest. Not everybody knows this was 47 00:02:47,200 --> 00:02:50,760 Speaker 2: created after the Second World War in order to heal 48 00:02:51,760 --> 00:02:55,080 Speaker 2: a war torn Europe, and they decided to have a 49 00:02:55,080 --> 00:02:59,880 Speaker 2: song competition where people from different cultural backgrounds, spoke different languages, 50 00:03:00,080 --> 00:03:03,919 Speaker 2: can celebrate their differences rather than you know, shoot each 51 00:03:03,919 --> 00:03:07,280 Speaker 2: other about them. It's not a bad idea, and of 52 00:03:07,320 --> 00:03:09,560 Speaker 2: course clearly that that idea is never going to work, 53 00:03:09,720 --> 00:03:13,280 Speaker 2: and you know, sixty eight years later we have this 54 00:03:13,639 --> 00:03:18,840 Speaker 2: massively successful. It's the most most watch televised non sporting 55 00:03:18,880 --> 00:03:19,480 Speaker 2: event in the world. 56 00:03:19,639 --> 00:03:21,720 Speaker 1: Is that sid Yeah, well now it includes Australia, for 57 00:03:21,760 --> 00:03:24,640 Speaker 1: goodness sake, which is hardly euro exactly. 58 00:03:24,440 --> 00:03:28,440 Speaker 2: But we've been subscribing to it for years. So the EBU, 59 00:03:28,600 --> 00:03:33,200 Speaker 2: the European Broadcasting Union, decided to let Australia in and 60 00:03:36,400 --> 00:03:39,840 Speaker 2: that premise, so that idea, that ethos, if you will, 61 00:03:40,600 --> 00:03:43,800 Speaker 2: of connecting with people from different cultural backgrounds is what 62 00:03:43,840 --> 00:03:47,360 Speaker 2: we want to expand upon. So what I find very 63 00:03:47,400 --> 00:03:51,880 Speaker 2: exciting is that with the show, the show exists, but 64 00:03:52,080 --> 00:03:56,600 Speaker 2: we're looking for people to contribute their art to the 65 00:03:56,640 --> 00:04:00,000 Speaker 2: show and in the first year, which is this year. 66 00:04:00,240 --> 00:04:03,800 Speaker 2: We're looking for people to contribute songs and we're looking 67 00:04:03,840 --> 00:04:07,960 Speaker 2: for choirs, and in particular we're targeting the people who 68 00:04:08,000 --> 00:04:12,680 Speaker 2: don't normally connect with the world of musical theater, you know, 69 00:04:12,880 --> 00:04:17,080 Speaker 2: particularly the sort of minority cultural groups around the state 70 00:04:17,160 --> 00:04:20,840 Speaker 2: and in the city metropolitan area, to give them an 71 00:04:20,839 --> 00:04:25,200 Speaker 2: opportunity to create something that sort of expresses who they are, 72 00:04:26,400 --> 00:04:29,279 Speaker 2: so that the show is kind of if there's a 73 00:04:29,320 --> 00:04:34,360 Speaker 2: sense of this production is really created by and for 74 00:04:34,440 --> 00:04:35,640 Speaker 2: the people in the community. 75 00:04:36,000 --> 00:04:38,279 Speaker 1: So have you had groups coming forward wanting to be 76 00:04:38,320 --> 00:04:38,640 Speaker 1: part of it? 77 00:04:39,640 --> 00:04:44,080 Speaker 2: Launched? So we're launched yesterday, we launched the or today 78 00:04:44,080 --> 00:04:47,720 Speaker 2: actually we launched the Kickstarter campaign in order to raise 79 00:04:47,760 --> 00:04:52,240 Speaker 2: funds to get everything built. But yes, I've been talking 80 00:04:52,240 --> 00:04:56,479 Speaker 2: to other organizations like the Multicultural Community Council of South 81 00:04:56,520 --> 00:04:59,520 Speaker 2: Australia who are right behind this, and we want to 82 00:04:59,560 --> 00:05:03,599 Speaker 2: go around the state looking for songwriters. We might find the. 83 00:05:03,640 --> 00:05:06,720 Speaker 1: Next cap Miller, hidekey, you never know, sticker on a. 84 00:05:06,680 --> 00:05:12,320 Speaker 2: Pole and it is so that's for me, is exciting. 85 00:05:12,400 --> 00:05:17,440 Speaker 2: So it's that sort of community cultural development side of 86 00:05:17,520 --> 00:05:23,520 Speaker 2: things which actually then gives us a sort of a 87 00:05:23,680 --> 00:05:26,680 Speaker 2: legacy in those communities so that when we do it 88 00:05:26,720 --> 00:05:29,040 Speaker 2: again next year, because we want this to be an 89 00:05:29,080 --> 00:05:33,919 Speaker 2: annual event, there's already some ground swell, there's already some 90 00:05:34,040 --> 00:05:38,000 Speaker 2: interest and the model is this, we do the first 91 00:05:38,040 --> 00:05:42,599 Speaker 2: one in South Australia in Adelaide, and then next year 92 00:05:42,640 --> 00:05:45,599 Speaker 2: we'd like it to be on in more regional areas 93 00:05:45,680 --> 00:05:48,920 Speaker 2: around the state and interstate as well. So we'd like 94 00:05:49,000 --> 00:05:52,240 Speaker 2: to have productions in places like Mount Gambia and Wyala 95 00:05:52,360 --> 00:05:54,600 Speaker 2: and so on. Not that they don't have to be 96 00:05:54,760 --> 00:05:58,520 Speaker 2: huge productions, but we give the framework to those communities. 97 00:05:59,080 --> 00:06:03,080 Speaker 2: We give them many of the songs, but they then 98 00:06:03,200 --> 00:06:07,840 Speaker 2: have to find local songwriters, local costume designers, local choreographers. 99 00:06:07,839 --> 00:06:11,600 Speaker 2: So it's created within the community itself, you know. And 100 00:06:12,000 --> 00:06:15,880 Speaker 2: at the last APEC, which is the Australian Performing Arts Community, 101 00:06:16,400 --> 00:06:18,680 Speaker 2: at the last conference they had that I attended a 102 00:06:18,720 --> 00:06:22,480 Speaker 2: couple of years ago, all the regional venues were screaming 103 00:06:22,920 --> 00:06:26,960 Speaker 2: for shows that could be created with the community for 104 00:06:27,000 --> 00:06:30,680 Speaker 2: the community, and this that response to a show like this, 105 00:06:30,880 --> 00:06:33,000 Speaker 2: I think the time is right for something like this. 106 00:06:33,400 --> 00:06:36,880 Speaker 1: You're looking to open in December, so yeah, the recruitment 107 00:06:36,880 --> 00:06:38,560 Speaker 1: process as that we're right the way now. 108 00:06:38,400 --> 00:06:41,400 Speaker 2: It's going to be busy. Yeah, we're doing auditions later 109 00:06:41,480 --> 00:06:45,800 Speaker 2: in July and then we'll be getting submissions of songs. 110 00:06:46,080 --> 00:06:49,920 Speaker 2: From now there'll be heats which will be held regionally. 111 00:06:50,000 --> 00:06:52,440 Speaker 2: So we're hoping that many of the councils around town 112 00:06:53,040 --> 00:06:56,000 Speaker 2: will come on board and give us a space so 113 00:06:56,080 --> 00:06:58,400 Speaker 2: that people who want to audition and do their song 114 00:06:58,480 --> 00:07:02,640 Speaker 2: and the heat can compete. But also the reason why 115 00:07:02,680 --> 00:07:06,560 Speaker 2: I'm talking today is that today we're launching the crowdfunding can. 116 00:07:07,160 --> 00:07:08,320 Speaker 2: So it's a bit like busking. 117 00:07:09,160 --> 00:07:11,720 Speaker 1: Well that's where you started in the all I. 118 00:07:11,760 --> 00:07:14,160 Speaker 2: Was good at crowdfunding, So this is a modern take 119 00:07:14,200 --> 00:07:20,160 Speaker 2: and a bit more electronic and digital. But people can 120 00:07:20,240 --> 00:07:23,640 Speaker 2: get opportunities to support the campaign and they get all 121 00:07:23,720 --> 00:07:27,200 Speaker 2: kinds of things for it, you know, like cheap tickets, 122 00:07:27,240 --> 00:07:29,880 Speaker 2: and there is even an opportunity to perform in the 123 00:07:29,920 --> 00:07:32,320 Speaker 2: show because in the second half of the show there's 124 00:07:32,320 --> 00:07:35,600 Speaker 2: the voting. You know, with Eurovision voting is so boring 125 00:07:35,800 --> 00:07:39,480 Speaker 2: you often know miles ahead who's won. But with our show, 126 00:07:39,520 --> 00:07:43,640 Speaker 2: we've developed a software program so that people go onto 127 00:07:43,640 --> 00:07:46,559 Speaker 2: the app and they vote and we don't know until 128 00:07:46,560 --> 00:07:49,360 Speaker 2: the last vote who has won. On that so it's 129 00:07:49,440 --> 00:07:52,680 Speaker 2: very exciting, and we are giving people an opportunity to 130 00:07:52,800 --> 00:07:55,880 Speaker 2: be one of the countries that gives the votes right, 131 00:07:56,000 --> 00:07:57,520 Speaker 2: so that all they've got to do is read a script. 132 00:07:58,560 --> 00:08:01,360 Speaker 2: So if people support the campaign, they get a chance 133 00:08:01,400 --> 00:08:04,400 Speaker 2: to do things like that brilliant and they we I 134 00:08:04,440 --> 00:08:07,200 Speaker 2: think the tickets on the campaign are at about a 135 00:08:07,240 --> 00:08:12,680 Speaker 2: forty percent discount. What's really important. And this is also 136 00:08:12,920 --> 00:08:15,320 Speaker 2: teams in with you know, this is on the minds 137 00:08:15,320 --> 00:08:18,880 Speaker 2: a lot of people. I think, I'm not going to 138 00:08:18,880 --> 00:08:21,440 Speaker 2: stick my neck out of it. I think most musicals 139 00:08:21,520 --> 00:08:25,520 Speaker 2: are kind of out of touch and way you. 140 00:08:25,560 --> 00:08:28,000 Speaker 1: Go, that's your phone, it's a five dollars fine. 141 00:08:28,080 --> 00:08:31,080 Speaker 2: And they're way too I thought i'd turned that off. 142 00:08:31,080 --> 00:08:35,160 Speaker 2: I did. They're way too expensive. Eighty five percent of 143 00:08:35,200 --> 00:08:39,600 Speaker 2: the population can't afford to think about going. And what 144 00:08:39,640 --> 00:08:43,200 Speaker 2: we want to do is create a show. So the model, 145 00:08:43,440 --> 00:08:46,199 Speaker 2: the model for putting a musical on in Australia is 146 00:08:46,360 --> 00:08:50,880 Speaker 2: roughly along the following lines. The producer acquires the rights 147 00:08:50,920 --> 00:08:53,800 Speaker 2: to a show which is usually from the UK, you know, 148 00:08:53,920 --> 00:08:57,000 Speaker 2: the London's West End or Broadway, and they pay a 149 00:08:57,040 --> 00:09:00,400 Speaker 2: fortune to acquire the rights. Okay, then they bring that 150 00:09:00,480 --> 00:09:05,200 Speaker 2: show into a limited market, which is Australia. Our market 151 00:09:05,240 --> 00:09:10,520 Speaker 2: compared with internationally, is very small, and because the show 152 00:09:10,600 --> 00:09:12,840 Speaker 2: costs so much, and because they think the way to 153 00:09:12,880 --> 00:09:15,640 Speaker 2: sell tickets is to put some famous person and pay 154 00:09:15,640 --> 00:09:18,640 Speaker 2: them a fortune in the hope that they will sell tickets. 155 00:09:19,880 --> 00:09:22,320 Speaker 2: What happens is that the cost to put the show 156 00:09:22,400 --> 00:09:25,800 Speaker 2: on gets very high, and then they use ticket tech 157 00:09:25,880 --> 00:09:28,760 Speaker 2: or ticket master, who I think just take a prem 158 00:09:28,920 --> 00:09:31,160 Speaker 2: I'm going to say at a premium, and they rip 159 00:09:31,200 --> 00:09:36,079 Speaker 2: you off in my opinion, because the fees that they 160 00:09:36,200 --> 00:09:38,440 Speaker 2: charge the producer and the fees that they charge the 161 00:09:38,440 --> 00:09:42,600 Speaker 2: person buying the ticket are outrageous, you know, So to 162 00:09:42,640 --> 00:09:44,520 Speaker 2: get a ticket for less than hundred and eighty dollars 163 00:09:45,120 --> 00:09:48,440 Speaker 2: is lucky. Our tickets will start at forty nine and 164 00:09:48,480 --> 00:09:51,800 Speaker 2: the top price will be eighty nine, you know. Now, 165 00:09:52,200 --> 00:09:55,560 Speaker 2: I think that is more affordable, so it's a less 166 00:09:55,559 --> 00:09:59,720 Speaker 2: of a hurdle. People might conflate lower prices with lower quality. 167 00:10:00,120 --> 00:10:03,199 Speaker 2: That is not the case. We just don't waste money 168 00:10:03,280 --> 00:10:06,800 Speaker 2: on big stars and you know, fortunes on sets and things. 169 00:10:07,000 --> 00:10:09,200 Speaker 1: I imagine it's going to be quite entertaining and there'll 170 00:10:09,200 --> 00:10:10,920 Speaker 1: be a bit of humor in this too, obviously. 171 00:10:11,800 --> 00:10:13,720 Speaker 2: I'll tell you what you have a look at the website, 172 00:10:13,760 --> 00:10:17,520 Speaker 2: which is Song Contest almost Eurovision. We have droves and 173 00:10:17,720 --> 00:10:20,920 Speaker 2: droves of reviews and people don't believe reviews, but I 174 00:10:21,000 --> 00:10:24,480 Speaker 2: put them up there anyway. People love the show. It 175 00:10:24,559 --> 00:10:28,480 Speaker 2: was the the Edinburgh Fringe Festival, which you were probably 176 00:10:28,520 --> 00:10:31,120 Speaker 2: heard of for listeners who don't know, it's the biggest 177 00:10:31,200 --> 00:10:34,320 Speaker 2: arts market in the world. In the year that we 178 00:10:34,360 --> 00:10:38,439 Speaker 2: took the prototype of this show to Edinburgh, there were 179 00:10:38,440 --> 00:10:42,320 Speaker 2: three three hundred other shows that we were competing against. 180 00:10:43,760 --> 00:10:47,280 Speaker 2: The average Sizeman audience at a fringe festival show is 181 00:10:47,360 --> 00:10:51,719 Speaker 2: five people, and we sold eight hundred tickets every night 182 00:10:51,760 --> 00:10:52,680 Speaker 2: for twenty eight shows. 183 00:10:52,840 --> 00:10:54,160 Speaker 1: Brilliant. How good is that We're the. 184 00:10:54,080 --> 00:10:56,040 Speaker 2: Biggest selling show at the Fringe and that's why the 185 00:10:56,080 --> 00:10:58,079 Speaker 2: show went on to to the UK and when we 186 00:10:58,160 --> 00:10:59,880 Speaker 2: even had a season in London's West End. 187 00:11:00,080 --> 00:11:02,960 Speaker 1: Coming to Adelaide soon tell me about the badge. Well, 188 00:11:03,000 --> 00:11:05,120 Speaker 1: you've brought two items. Is one I'm itching to get 189 00:11:05,120 --> 00:11:07,240 Speaker 1: my hands on and do it a second, but this one, 190 00:11:07,280 --> 00:11:10,880 Speaker 1: the Sweden Song Contest badge. 191 00:11:11,000 --> 00:11:11,880 Speaker 2: I meant to give you Greece. 192 00:11:12,640 --> 00:11:14,280 Speaker 1: I'll take Greece absolutely. 193 00:11:15,160 --> 00:11:17,840 Speaker 2: So when people come to the show, they are given 194 00:11:17,880 --> 00:11:21,520 Speaker 2: a badge with one of the countries that are competing 195 00:11:21,559 --> 00:11:27,480 Speaker 2: on the night, and people think. People say, when we 196 00:11:27,520 --> 00:11:29,320 Speaker 2: did the show, we were just handle these out and this, Oh, 197 00:11:29,320 --> 00:11:31,120 Speaker 2: can I have Sweden or can I have Germany? We 198 00:11:31,240 --> 00:11:36,480 Speaker 2: said no, you can't, you're hungry, And instantly that person 199 00:11:36,840 --> 00:11:40,040 Speaker 2: sort of became Hungarian for night and they got right 200 00:11:40,080 --> 00:11:43,640 Speaker 2: behind Hungary. The only thing is that whatever country you're 201 00:11:43,760 --> 00:11:47,439 Speaker 2: representing on the right, you can't vote for them, which 202 00:11:47,480 --> 00:11:51,480 Speaker 2: you can bribe people. And it created a sense of 203 00:11:52,800 --> 00:11:57,800 Speaker 2: reciprocation with people because this doesn't cost them, We just 204 00:11:57,840 --> 00:12:02,680 Speaker 2: give it to them. But then the reciprocation that people 205 00:12:03,000 --> 00:12:09,120 Speaker 2: so much wanted to get into the atmosphere like this competitive, friendly, funny, 206 00:12:09,800 --> 00:12:11,319 Speaker 2: and people became tribal. 207 00:12:11,640 --> 00:12:14,480 Speaker 1: We are tribal, well, I think this must flow into that. 208 00:12:14,600 --> 00:12:16,640 Speaker 1: And that is the hand clapping thing. Hang on here 209 00:12:16,679 --> 00:12:22,560 Speaker 1: we go love it so that the hands clapping together, 210 00:12:22,720 --> 00:12:24,880 Speaker 1: what do we do with those? It says song Contests 211 00:12:24,880 --> 00:12:26,839 Speaker 1: the almost Eurovision experience on it. 212 00:12:26,840 --> 00:12:31,480 Speaker 2: It's now being rebranded song Contest almost Quicker. But the 213 00:12:31,480 --> 00:12:37,800 Speaker 2: clacking is an incredible feat. I didn't realize how well 214 00:12:37,840 --> 00:12:40,760 Speaker 2: it would go, but people got the clackers, and in 215 00:12:41,320 --> 00:12:43,760 Speaker 2: this show that's on in Adelaide at the end of 216 00:12:43,760 --> 00:12:46,440 Speaker 2: the year, everyone gets a free clacker. It's part of 217 00:12:46,440 --> 00:12:50,080 Speaker 2: the ticket price, along with a flag. I didn't being 218 00:12:50,120 --> 00:12:52,600 Speaker 2: in the flag, but everyone gets flags and clackers and 219 00:12:52,640 --> 00:12:55,559 Speaker 2: then it saves the hands and clapping and laughing and 220 00:12:55,960 --> 00:12:58,240 Speaker 2: people love it. I want to create that. I'm serious. 221 00:12:58,280 --> 00:13:00,000 Speaker 2: I want to create the loudest musical in the world 222 00:13:00,080 --> 00:13:01,800 Speaker 2: world and. 223 00:13:01,679 --> 00:13:03,160 Speaker 1: That will help. 224 00:13:02,800 --> 00:13:07,040 Speaker 2: If people can support our kickstarter campaign, that will happen. 225 00:13:07,120 --> 00:13:08,800 Speaker 2: It will only be a matter of time. It's not 226 00:13:08,800 --> 00:13:10,240 Speaker 2: a question of it if, it will be when. 227 00:13:10,360 --> 00:13:12,320 Speaker 1: And you know, I can see this almost becoming an 228 00:13:12,360 --> 00:13:15,320 Speaker 1: annual or bi annual event and get bigger every single time. 229 00:13:15,360 --> 00:13:17,640 Speaker 2: That's exactly what we want to do. And I'm appealing 230 00:13:17,679 --> 00:13:22,280 Speaker 2: to the Australian Government to help support this because at 231 00:13:22,280 --> 00:13:25,839 Speaker 2: the moment we've found difficulty in getting support, hence the 232 00:13:25,960 --> 00:13:29,679 Speaker 2: Kickstarter or the crowdfunding. So I'm hoping that, you know, 233 00:13:29,760 --> 00:13:32,480 Speaker 2: Andrea Michaels, the Minister for the Arts and Zoe Bettinson, 234 00:13:32,520 --> 00:13:36,600 Speaker 2: the Minister for Cultural Affairs, will have another look at 235 00:13:36,600 --> 00:13:39,440 Speaker 2: what we're submitting to them and put something behind this 236 00:13:39,559 --> 00:13:43,640 Speaker 2: because this is for the community. It's not about it's 237 00:13:43,679 --> 00:13:46,320 Speaker 2: not about creating show that I'm gonna you know, run 238 00:13:46,440 --> 00:13:49,480 Speaker 2: will guide it, but I think the community will take 239 00:13:49,559 --> 00:13:52,280 Speaker 2: us on a journey that we can only dream about. 240 00:13:52,760 --> 00:13:54,720 Speaker 1: Glynn website. If people want to go, have a look 241 00:13:54,720 --> 00:13:56,839 Speaker 1: at even buy tickets and absolutely so. 242 00:13:56,920 --> 00:14:01,880 Speaker 2: It's www dot Song Contest almost Eurovision All one word 243 00:14:02,000 --> 00:14:06,240 Speaker 2: Song Contest, almost Eurovision dot com. And they can also go. 244 00:14:06,280 --> 00:14:08,880 Speaker 2: If they want to look at supporting the campaign, they 245 00:14:08,880 --> 00:14:12,319 Speaker 2: can go to the Kickstarter website and there's also links 246 00:14:12,320 --> 00:14:13,960 Speaker 2: on our website to have a look at that. And 247 00:14:13,960 --> 00:14:16,920 Speaker 2: we hope that people do take the opportunity to support 248 00:14:16,960 --> 00:14:19,360 Speaker 2: us and give us some money so that we can 249 00:14:19,600 --> 00:14:20,080 Speaker 2: make this. 250 00:14:20,000 --> 00:14:23,200 Speaker 1: Happen, some contest almost Eurovision. Glynn, great meeting you today, 251 00:14:23,240 --> 00:14:24,840 Speaker 1: Good luck with it. It sounds fantastic. 252 00:14:24,920 --> 00:14:26,960 Speaker 2: Thank you very much. Indeed, I think I really appreciate 253 00:14:26,960 --> 00:14:27,200 Speaker 2: the time. 254 00:14:27,240 --> 00:14:27,960 Speaker 1: I'll clap you out.