Madame Giry

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.

Unlike in the novel, the film does not feature her being arrested under suspicion of dipping into Phantom's 20,000 francs of salary. Her appearance is also modified, as she is (in the novel) said to "have three teeth" and "thin hair". In short, they attempted to beautify her in the film.

According to scholars and critics, The Persian is replaced by her in the Andrew Lloyd Webber musical edition of the story.

Madame Giry's Character in the Novel
Madame Giry is an aging woman who works as 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, Madame 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.

In the novel, it is never mentioned that she knows Christine Daae.

One of her little tasks is to collect the "salary" owed to the "Opera Ghost". The Ghost instructs the managers of the Opera to hand Madame Giry an envelope containing his salary. Madame Giry knows nothing of the envelope's content, though. She is then, by orders from the Ghost, supposed to slip the envelope back into one of the managers' dress-coat pockets from which the Ghost can steal it.

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, but since the Ghost remains in the Opera Garnier after Madame Giry is removed, this is clearly an erroneous suggestion. As they find a replacement for Madame Giry, they invite the candidate to sit in the audience. When the chandelier falls, the candidate is the only fatality. Following direct intervention by the Opera Ghost, Giry is eventually reinstated 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 stating that her daughter Meg would eventually grow up to become an Empress. Then she is convinced to help the Opera Ghost.

Madame Giry in the Andrew Lloyd Webber Musical
In Andrew Lloyd Webber 's The Phantom of the Opera, Madame Giry's role is changed to become a slightly younger woman who now works as a 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.

While 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 a young Madame Giry rescuing the Phantom from a traveling circus and hiding him in the Opera House. This was taken from Frederick Forsyth's sequel, The Phantom of Manhattan. Even in the extended scene she does not give any indication why she is working for the Phantom (other than empathy and her appreciation for his genius), 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 does not appear in the stage musical.

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 Phantom's 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.) They both tell Raoul to hold his hand near his eyes, to protect from attack with punjab lasso.

Madame Giry is not amongst the crowd who enter the Phantom's Lair at the end of the musical, although her daughter Meg Giry 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 uses a wheelchair in these scenes, it is wrongly assumed that she is meant to be an elder Meg, as opposed to Madame Giry. This theory has been disproved by both Joel Schumacher (director) and the Really Useful Group; it is in fact Madame Giry who appears in these scenes.

In The Phantom of Manhattan, her first name is given as Antoinette.