Madame Giry
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Madame Giry is a character in the Gaston Leroux novel, The Phantom of the Opera. She is a fairly intermediate character in the novel, although her role is much increased in the Andrew Lloyd Webber musical. This article will deal with both versions separately.
[edit] Madame Giry in the Novel
Madame Giry is a concierge in the Place De L'Opera, who looks after patrons of the Opera, principally those who sit in the boxes.
One night, whilst working, Madme Giry hears a male voice in Box Five, which she knows to be empty. After recovering from her surprise, she learns to trust the "voice" and does odd jobs for the owner.
One of her little tasks is to collect the "salary" owed to the "Opera Ghost". She does this through an act of pickpocketing, where she takes the money from the pocket of the dress-coat worn by one of the managers.
The Managers, Monsieurs Richard and Moncharmin remove Madame Giry from her post, finding her troublesome. There is an indication that they consider her to be the Ghost, although - since the Ghost clearly resides in the Opera Populaire after Madame Giry is removed - this is clearly an erroneous suggestion. Followig direct intervention by the Opera Ghost, she is eventually re-instated into her role as concierge.
It is revealed in a meeting with the Managers of the Opera that she is working for the Opera Ghost after he left a note in Box Five, showing that her daughter, Meg Giry would eventually grow up to become a Countess.
[edit] Madame Giry in the Musical
In the Andrew Lloyd Webber musical, Madame Girys' role is changed to become choreographer of the Corps de ballet. She is shown holding a cane, which she uses to beat time with the music, but which she is rarely shown to use otherwise.
When the Opera Diva, Carlotta Giudicelli walks out, during rehearsals at the start of the show, it is Madame Giry who suggests Christine Daaé for the leading role. Later in the show, she receives one of the Phantom's "Notes" in both reprises of this tune. The first one she gives to M. Firmin, but the second she reads herself, being over-spoken by the Phantom part way through.
There is very little history given between the Phantom and Madame Giry in the musical, a small scene was extended in the film version, showing how a young Madame Giry rescued the Phantom from a travelling circus and hid him in the Opera House. Even in the extended scene she does not give any indication why she is working for the Phantom, unlike the reasons given in the novel.
In the 2004 film version of the musical (in which she is played by Miranda Richardson), Madame Giry is shown almost to be an accomplice of the Phantom, failing to notify people when he locks Christine's dressing room or when she spots him in the rafters during a scene. This collusion is not shown in the stage musical - possibly for logistical reasons.
Regularly during the musical, Madame Giry tries to stop the Managers from doing any harm to the Phantom and defends him on several occasions. However, when Christine is abducted by the Phantom, Madame Giry gives up all hope of avoiding her past and helps Raoul de Chagny to the Phantoms' Lair deep underground. She shows him the way, but will not accompany him into the catacombs. In this way, Andrew Lloyd Webber combines the roles of Madame Giry and the Persian from the novel. (In the novel, the Persian shows Raoul where the Opera Ghost resides - although he does accompany Raoul, unlike Madame Giry.)
Madame Giry is not amongst the crowd who enter the Phantoms' Lair at the end of the musical, although her daughter Meg is. In the film version, Richardson is seen playing a non-speaking character in several of the black-and-white scenes, which indicate events many years after the events in the story. Since Raoul is confined to a wheelchair in these scenes, it is probably meant to be an elder Meg, as opposed to Madame Giry, though no explanation was provided.
