Post by Madame Giry on Dec 27, 2007 20:54:42 GMT -7
First: Nadir
Last Name: Giry
Age: 59
Eyes: brown
Hair: brown
Character description: always wears a black dress, has a cane in hand at all times. Wears her hair in a tight bun.
Persuasion: good
Type of Creature: Human
Powers: No Powers
History:
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, 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.
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, although - since the Ghost remains in the Opera Garnier after Madame Giry is removed - this is clearly an erroneous suggestion. Following direct intervention by the Opera Ghost, she 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, showing that her daughter, Meg Giry would eventually grow up to become an Empress.
In the Andrew Lloyd Webber musical, Madame Giry's 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.
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 how a young Madame Giry rescuing the Phantom from a travelling circus and hiding 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 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.
Character is from: Phantom of the Opera
[glow=blue,2,300]Accepted~ Phantom[/glow]
Last Name: Giry
Age: 59
Eyes: brown
Hair: brown
Character description: always wears a black dress, has a cane in hand at all times. Wears her hair in a tight bun.
Persuasion: good
Type of Creature: Human
Powers: No Powers
History:
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, 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.
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, although - since the Ghost remains in the Opera Garnier after Madame Giry is removed - this is clearly an erroneous suggestion. Following direct intervention by the Opera Ghost, she 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, showing that her daughter, Meg Giry would eventually grow up to become an Empress.
In the Andrew Lloyd Webber musical, Madame Giry's 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.
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 how a young Madame Giry rescuing the Phantom from a travelling circus and hiding 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 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.
Character is from: Phantom of the Opera
[glow=blue,2,300]Accepted~ Phantom[/glow]
