The comedian and theatre producer behind some of Australia’s best-loved stage productions could have retired years ago. Instead, he’s betting that music, laughter and local communities can help bring people together in a world that feels increasingly divided.
For many Australians, Glynn Nicholas will forever be remembered as one of the country’s great comedians — the quick-witted performer whose television and stage work made audiences laugh for decades.
But these days, the 73-year-old is chasing something entirely different.
He’s still writing, pitching ideas, meeting producers, and he’s running 5km before breakfast. He’s also still convinced his best work might be the work he hasn’t done yet.
“I don’t have any ambitions, my ego has dropped away,” Nicholas tells Starts at 60. “For me, it’s about working behind the scenes to create this important connection. That’s really what drives me.”
Nicholas knows what success looks like.
Back in 2006 he produced Eurobeat: Almost Eurovision, a musical celebrating everything audiences loved about the famous European song contest. The production exceeded expectations.
After touring Australia, it headed to the Edinburgh Fringe Festival, where performances quickly filled an 800-seat theatre. That momentum led to a UK tour before an invitation many producers spend their careers dreaming about… London’s West End.
Then came unfortunate timing.
The show opened in the same week the Global Financial Crisis struck in 2008 and while audiences continued finding the production, the financial reality became impossible to ignore.
“We were one of four shows in the West End whose sales kept increasing,” Nicholas recalls.
“But it wasn’t substantial enough to put money in our pockets to stay through the losses.”
The production eventually closed, and later disagreements over ownership convinced Nicholas to walk away from the project altogether and it was a painful decision after years of work.
Many people would have left it there.
He couldn’t.
The show he’s building today borrows some of Eurovision’s colour and energy, but Nicholas insists the real idea has evolved far beyond glitter and catchy songs: his vision is to create productions that reflect the multicultural communities in which they’re performed.
Rather than touring the same show around Australia, local productions would invite emerging songwriters, costume designers, performers and community groups to help create something unique to their own region. Communities would spend months developing original songs before audiences vote for winners during live performances. The goal is to leave behind a creative framework that others can continue building for years.
“If there’s a big Sudanese community in Frankston, it makes sense that they should be represented,” he says. “It makes every production different because every community is different.”
For Nicholas, the theatre becomes “a meeting place”, and more than just entertainment.
The strategy behind the project speaks less about ticket sales than community participation and talks about strengthening social cohesion, mentoring young creatives, making theatre affordable and helping people from different cultural backgrounds feel they belong.
Nicholas believes Australia needs more opportunities like that.
“I call it fear of the other,” he says.
“This, in its own gentle way, will undo that notion by creating an opportunity where we can celebrate different languages. We’re creating a place where people can celebrate their differences through music.”
It’s an ambitious goal; perhaps even idealistic. But after decades in entertainment, Nicholas has become convinced comedy and live performance still offer something social media never can.
“We spend so much time getting lost in scrolling,” he says.
“But if we substitute that for real connection with people face to face, I think we’re on a losing bet.”
Ask Nicholas whether age has changed the way he thinks about his career and he doesn’t hesitate.
“I do think, if I don’t do this, who’s going to do it?”
He’s not interested in standing centre stage forever. In fact, he’d prefer someone else became the public face of the project while he quietly helped shape it behind the scenes.
The focus now is building something that can outlive him.
“I’ve never thought of myself as being an old person,” he laughs.
“I’m still running in the morning, still jumping in the ocean and doing cold baths. Occasionally I think, okay, you’re getting on a bit, so let’s build something worthwhile.
“I just want to do something that will make the world a little bit better.”
For many people, retirement signals winding down.
For Glynn Nicholas, it simply means there’s finally enough experience to chase the dream that matters most.
Glynn Nicholas is continuing to develop ‘Song Contest – Almost Eurovision’ and hopes to build support through community partnerships and a future public fundraising campaign. Those wanting to learn more or follow its progress can keep an eye on upcoming announcements as the project moves towards its next stage. Visit Song Content Almost Eurovision
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