Madame Giry

And I think we're coming to kind of understand that there are certain characters that provide comic relief and certain characters who don't.

And I think that's really cool in terms of the writing, 'cause it means that certain characters, like Moncharmin and Richard, the two managers, and Madame Giry, they are written as if they're in some kind of farce or something.

And other characters, like Raoul and Christine, they are written as if they're in a drama.

And so it's really funny when those two kinds of characters meet up, 'cause it can create all kinds of shenanigans and miscommunications and stuff, and it can give us those funny and spooky scenes that we've been talking about.

Never mind about Carlotta.

She will be ill.

Three, I absolutely insist upon the good and loyal services of Madame Giry, my box keeper, whom you will reinstate in her functions forthwith.

Four, let me know by a letter handed to Madame Giry, who will see that it reaches me, that you accept, as your predecessors did, the conditions in my memorandum book relating to my monthly allowance.

Again.

So Raul runs after her, confronts Madame Giry, who like has been delivering Phantom letters.

She trains the ballet dancers.

I know she has a role, like a specific label, but I don't remember what it is.

Ben Lewis is the Phantom.

Anna O'Byrne is Christine Daae, which is very funny that they're listing her as Christine Daae in there and not her married name.

Maria Mercedes is Madame Giry.

Simon Gleeson is Raoul.

The managers ask to speak to the house manager, who tells them that the people in box five heard a voice inside telling them that the box was occupied.

The managers then ask to speak to Madame Giry, the box attendant, who is also Meg Giry's mother.

She arrives and seems to have a very high opinion of herself and her place in the opera, and she explains that the ghost is real.

He often comes to box five, and she hands him his program.

She says that sometimes there's a lady with him, which she knows because he asks for a footstool, and usually he leaves Madame Giry a tip and sometimes a present.

But she never sees him.

She only hears his voice, which she says is kind and masculine.

Moncharmin and Richard decide to fire Madame Giry because she's obviously crazy, and they make a plan to spend the next performance in box five themselves.

Uh, so that's gross.

But if, if we're trying to make Raoul, like, a more appealing romantic choice for her because the Phantom, based on the backstory, at least in the movie, needs to be pretty close in age to Madame Giry.

Yeah.

Right? So, like, a whole generation [laughs].

Yeah.

Like, Madame Giry's old enough to be her mom, and the Phantom's about that age.

So, like, yeah, this is not a good romantic choice.

Um, but if we're trying to make Raoul seem like a more appealing choice, why the [beep] did we cast Patrick Wilson, who was 30?

She soon made her appearance.

"What's your name?" "Madame Giry." "You know me well enough, sir.

I'm the mother of Little Giry, Little Meg.

What?" This was said in so rough and solemn a tone that for a moment, Monsieur Richard was impressed.

He looked at Madame Giry in her faded shawl, her worn shoes, her old taffeta dress, and dingy bonnet.

It was quite evident from the manager's attitude that he either did not know or could not remember having met Madame Giry, nor even Little Giry, nor even Little Meg.

But Madame Giry's pride was so great that the celebrated box keeper imagined that everybody knew her.

"Never heard of her," the manager declared.

Yeah.

Um, I think she was Madame Giry in the first Phantom.

Correct.

Yeah, yeah.

But we will return to the corpse and what ought to be done with it.

For the present, I must conclude this very necessary introduction by thanking M. Mifoy, who was the commissary of police called in for the first investigations after the disappearance of Christine Daillet, M. Rémy, the late secretary, M. Mercier, the late acting manager, Monsieur Gabriel, the late chorus master, and more particularly, Madame le Baron de Castellotte-Barbezac, who was once the little Meg of the story, and who is not ashamed of it, the most charming star of our admirable corps de ballet, the eldest daughter of the worthy Madame Giry, now deceased, who had charge of the ghost's private box, meaning the box in the opera, like a place where you can sit to watch the opera from.

all these were of the greatest assistance to me and thanks to them i shall be able to reproduce those hours of sheer love and terror in their smallest details before the reader's eyes and i should be ungrateful indeed if i omitted while standing on the threshold of this dreadful and voracious story to thank the present management of the opera which has so kindly assisted me in all my inquiries and m messager in particular together with m gabion the acting manager and that most amiable of men the architect entrusted with the preservation of the building who did not hesitate to lend me the works of charles garnier although he was almost sure that i would never return them to him Lastly, I must pay a public tribute to the generosity of my friend and former collaborator M. J. Lacroze, who allowed me to dip into his splendid theatrical library and to borrow the rarest editions of books by which he set great store.

Gaston Leroux Chapter One Is It the Ghost? It was the evening on which Messieurs Desbiens and Poligny, the managers of the opera, were giving a last gala performance to mark their retirement.

Julia, I want to know what role you think I should play because I don't have a strong opinion.

Man, I think you actually would be a really fun Madame Giry.

Like, bad bitch in charge, Madame Geary.

Ooh.