morag mclaren

9

How the West End skirts of 1988-91 was used as basis for the contemporary Canadian and Australian skirts: 

  1. Morag McLaren, West End 1988. 
  2. Kristina Marie Guiguet, Toronto 1989. 
  3. Christa Leahmann, Melbourne 1990. 
  4. Rosemary Ashe, West End 1990. 
  5. Gail Hakala, Toronto 1993-98. 
  6. Shaula Salathe, Sydney 1994-96 sometime. 
  7. Julia Goss, West End 1991.  
  8. Mary Ann Barcellona, Canadian Tour 1992. 
  9. Helen Noonan, Sydney 1994. 

The green skirts with a golden stripy hem and red apron with large gold “points”, combined with the big red floral motif on the tabs, is what’s most distinctive in the West End costumes of this era. It’s also what was translated into the Canadian and Australian costumes. The big brooch between the bead bra in the bodice was copied, but the bodices in Canada and Australia was given more structure. 

But while West End moved on to new and different styles in the mid 90s, both Canada and Australia kept this style until the productions closed in 1999/1998. It’s furthermore the style still in use in the World Tour, and a Canadian Christine skirt has also survived and is currently in use in Russia. 

7

The original b/w dress, and the one who followed it. 

Rosemary Ashe’s dress had a skirt not too unlike current dresses, except less drapes in the main skirt. But the bodice was very different. It was made of a crushed black velvet, with a curved trim with flowers on the vandykes in the bottom and at the sleeves. It also had decorations around the neck opening, but none down the front bodice.

The dress to follow it was worn by Maria Moll in 1988. The skirt remained in large the same. The bodice here was also made of a crushed velvet, but this one got additional decorations down the front. The trim on the vandykes still had flowers, but the curves are gone. 

The Carlotta to follow Maria Moll - Morag McLaren - wore the differently styled dress I wrote about earlier.