He created 'A History of Costume from 4000 B.C. They came to be known as the Merioola Group. These included Alec Murray, Jocelyn Rickards, Justin O'Brien and Donald Friend. On discharge in 1946, they joined some like-minded artists and bohemians at Merioola, Edgecliff, Sydney. In 1942 he and Miller joined the Australian Imperial Force and served as theatre orderlies on the hospital ship Wanganella. In 1941 he designed the costumes for a Melbourne production by Gregan McMahon of Jean Giraudoux's Amphitryon 38 and the sets for some of Hélène Kirsova's ballets, A Dream – and a Fairy Tale, Faust, Les Matelots and Vieux Paris. He also designed the costume for Nina Verchinina's character in the farewell performance by the Ballet Russe in Melbourne in September 1940, the ballet Dithyramb, to music by Margaret Sutherland. The British Council then sent Sainthill and Miller back to Australia, in charge of a major exhibition of theatre and ballet designs, which opened in Sydney in early 1940. There, with the assistance of Rex Nan Kivell, he mounted an exhibition of his pictures in 1939, and almost all the 52 pieces sold. He was approached to design Serge Lifar's Icare, but although Sidney Nolan was given the commission, Sainthill's consolation prize was being invited to London with the company. He painted some of the dancers and designed some sets for the ballets. He and Miller were regular patrons of Café Petrushka on Little Collins St, where they mingled with fellow members of the artistic and bohemian community, and they had the chance to meet some of the visiting Russian dancers. de Basil's Original Ballet Russe on their three Australian tours. In 1936–37, 1938–, his artistic eyes were opened by seeing Colonel W. Miller published an art magazine called Manuscripts, and he organised Sainthill's first exhibition, at the Hotel Australia in Collins Street. They were to become life partners, and Miller's connections were to prove advantageous to Sainthill's career. By 1935 he had changed the spelling of his surname to Sainthill.Īround this time he met the journalist, book seller, art critic and leading member of the avant garde scene Harry Tatlock Miller (1913–1989). By age 17 he had set up a studio in the heart of Melbourne where he painted and sold murals. In 1932 he studied design and drawing under Napier Waller at the Applied Arts School of the Working Men's College (a precursor of RMIT University). Before the age of 14 he had seen Anna Pavlova dance, heard Dame Nellie Melba sing, and had seen Ibsen and Chekhov plays performed. He had a natural interest in drawing and painting, and was attracted to quality live performance. This continued into his adulthood, but was not apparent when talking to children. and Harold Fielding Nominatedīest Performance by a Leading Actor in a Musical Tommy Steele Nominatedīest Performance by a Featured Actor in a Musical James Grout Nominatedīest Performance by a Featured Actress in a Musical Carrie Nye Nominatedīest Original Score David Heneker Nominatedīest Direction of a Musical Gene Saks Nominatedīest Choreography Onna White Nominated 2017-WhatsOnStage.He was born Loudon St Hill, the second of four children, in Hobart, Tasmania, but by the age of two his family had moved to Melbourne. Awards: Nominated-Received 1965- Tony Award:īest Producer Allen-Hodgdon, Stevens Productions Inc. The production was initially slated for a limited engagement to February, however, due to rave reviews and sell-out shows, it ended up running seven months longer than planned, closing on 2nd September 2017. The production opened in Chichester to success, and transferred to the West End’s Noel Coward Theatre, opening for previews on 29th October 2016. In 2016, a revised production of the show opened at Chichester Festival Theatre, co-produced by Cameron Mackintosh, who reunited the writing team of Mary Poppins to collaborate on the project. Julia Foster starred as Ann, however her singing voice was dubbed by Marti Webb.’ – ( WEST END BESTFRIEND) The production was also adapted into a film in 1967, again with Steele reprising his role and choreographed by the late Dame Gillian Lynne. The production transferred to Broadway two years later with Tommy Steele reprising the role of Kipps, directed by Gene Saks, and choreographed by Onna White. The production was directed by John Dexter, choreographed by Edmund Balin, and set designed by Loudon Sainthill. It starred Marti Webb in her first leading role as Ann. ‘The production premiered in March 1963 at the Cambridge Theatre and was a success.
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