Madame Giry

Madame Giry, friend to Phantom. In each version of the Phantom of the Opera, she’s depicted slightly different. In Leroux, she’s an elderly woman, a widow, who dresses is a worn-out black taffeta dress, with a dingy hat, whose job is that of concierge of the patrons who sit in the boxes. In Webber's versions, she’s portrayed differently in the stage play and the movie. In the play, she is ballet mistress, a middle-aged widow, who carries a cane, appearing as a stern and ominous woman. In the movie, however, her character is softened. She is still the ballet mistress and choreographer, a middle-aged widow, carries a cane, but possesses less of an overbearing character. All versions have Meg as her daughter, a talented ballet dancer.

Each of these portrayals, however, focuses on her personal knowledge of the Opera Ghost. She is his messenger and accomplice in many ways. Madame Giry collects his salary, delivers his notes, tells you when the Opera Ghost is well pleased, warns of his displeasure and capability of fury, and delivers his roses to Christine. She reads the Opera Ghost’s note to the managers welcoming them to “his opera house” and instructs them to leave Box 5 empty for his use, and that his salary that is due. When they go against the Opera Ghost’s wishes, she knows the angel sees, the angel knows, and nothing good can come of it. She also warns Joseph Buquet to keep quiet about his knowledge of the Ghost and not to enrage him by his actions, a warning that goes unheeded and ends in death.

As far as the Phantom’s origination, in Leroux it’s not indicated that she is aware of his past. (Leroux friends, correct me if I’m wrong here.) In Webber’s play, however, she becomes acquainted with him as a circus freak that has escaped and comes to live at the Opera House. In the movie, she is portrayed as his sole rescuer from the traveling fair, and the one who hid him from the world and its cruelty. She admires him as a genius, architect, magician, musician, and composer.

Madame Giry brings Christine to live at the Opera House upon her father’s death and treats her like a daughter. When Carlotta storms off the stage, she seems to know it’s the opportune time to introduce Christine’s talent, no doubt at the prodding of the Opera Ghost. She knows he has been tutoring her, and her promising talent is ripe and ready to be revealed. She is also aware of his fascination with her as a woman. We see her watch him lock Christine’s dressing room door, knowing the meaning of his intention, and not protesting his imminent revelation of himself to her. On the other hand, when the Phantom in his madness kidnaps Christine and destroys the Opera House, she befriends Raoul showing him the way to the lair.

Madame Giry is portrayed as a friend to Phantom who knows his secrets. She is his rescuer, enabler, accomplice, and is sympathetic to his plight. Her concern and caring for his well being is shown in at Point of No Return, as she reacts to his appearance on stage in Don Juan. She holds the cross on her necklace while watching Christine and the Phantom cross the bridge above, as if praying for them both.

The Phantom trusts her, but no doubt uses that trust to his advantage to carry out his desires at the Opera Populaire. However, he protects her and Meg from harm, and oversees their well being throughout his life there. He deals harshly in Leroux’s version with the managers when they attempt to remove her from her post. The Phantom seems to have a deep gratitude for her, and Madame Giry seems to have a deep respect, albeit laced with some healthy fear, for the Phantom himself. Whatever else she felt for him beyond that can be left to speculation.

The Phantom owes her a debt of gratitude for giving him a new existence. Christine owes Madame Giry a debt of gratitude for taking her in after her father’s death. Raoul owes her a debt of gratitude for leading him to the Phantom’s lair to rescue Christine. Madame Giry, the friend to Phantom, and helper of those in need.

Trying to pull a lesson out of Madame Giry has been somewhat challenging. I see in her someone who is a rescuer and enabler, but mean no disrepect of her well-meaning actions. Though she believed she was helping the Phantom throughout his life at the Opera Populaire, she was also enabling him to live a life hid from the world, never learning to deal emotionally with its cruelties or to venture into it as a human being to find his place. The Opera House was the only world, beyond the fair, he had ever known. In a sense, she freed him from the jeers of mankind, but bound him to a life of another kind. She rescued him, but also enabled him to play a different role in life, one of the Opera Ghost and Phantom of the Opera. Of course, in Leroux and the play, we know the Phantom had a life outside of the Opera House before he came to live there; but in the movie, he does not.

I believe at the end, Madame Giry was forced to admit the Phantom had to be stopped, and she could no longer hide him from the world or keep his secrets. He had destroyed the only world they both knew, which was a world she also loved and lived in, as ballet mistress at the Opera Populaire. Madame Giry not only helped choreograph the ballet performances, but played a role in choreographing the Phantom’s life as well, wouldn’t you say?

I admit I am somewhat of a rescuer and enabler myself - the Madame Giry type. I tend to help others so much it usually leads to their continued lack of growth, as well as to my own detriment. As much as we can care for another human’s plight, rescue and enablement are not always the best answers to helping a person. It doesn’t always promote maturity that leads a person to be self-sufficient, healthy, and whole. Madame Giry cared for the Phantom, it’s evident, but had to arrive at the painful realization things had to change.

What do you see in Madame Giry’s character? As usual, I’m always interested in knowing your thoughts.

The Phantom's Student

Order Lessons From the Phantom of the Opera Here

Raoul, Vicomte de Chagny

Raoul is the representation of light and salvation; but is he a saint or a sinner? Well, that depends on your point of view.

Andrew Lloyd Webber’s portrayal of Raoul paints him as a saint from the very beginning. He arrives at the Opera House in his carriage, pulled by white horses, while we hear the rehearsal of Hannibal singing the words “savior” and “salvation” simultaneously as he enters through the stables. He is the “patron” of the Opera House, as if he’s the “patron saint,” a guardian who has arrived to save the Opera House from darkness. He is their supporter and benefactor. The lyrics Raoul sings in All I Ask of You are riddled with Biblical verses further identifying his role:

• Darkness - “there arises light in the darkness” (Psalm 112:4)
• Fears - “do not fear, nor be afraid” (Isaiah 44:8)
• Harm - “no harm can come upon us” (Micah 3:11)
• Freedom - “the Lord gives freedom” (Psalm 146:7)
• Dry your tears -- “will wipe away tears” (Isaiah 25:8)
• Here with you - “I will never leave you” (Hebrews 13:15)
• Guard you - “guard you from the evil one” (2 Thessalonians 3:2)
• Guide you - “I will guide you” (Psalm 32:8)
• Shelter - “you have been a shelter for me” (Psalm 61:3)
• Light - “your light and your salvation” (Psalm 27:1)
• Safe - “ keep me safe forever” (Psalm 40:11)

Raoul represents all that is light, in contrast to the Phantom who represents all that is darkness. Even during his battles with the Phantom in the cemetery and in the lair, Raoul wears a cross under his white shirt, a sign of salvation and protection from the evil one. He rides a white horse as he speeds off to save Christine from the Phantom’s deception at her father’s grave. He does everything in his power to save Christine, even to the point of his willingness to lay his life down pleading that she not waste her life with the Phantom to free him. Raoul, the saint.

How do others view him? Christine loves him because he can protect her, give her a better life, and she looks to him to be her guide and father figure. In Leroux’s version however, she judges him for his lack of compassion towards the Phantom. "Raoul, why do you condemn a man whom you have never seen, whom no one knows and about whom you yourself know nothing?" Anne Perry, in her introduction to Leroux’s original novel, judges him as shallow: “Would Raoul be so madly in love with Christine were she not beautiful? He looks at her ‘pure’ and gentle face and sees in it all he believes her to be.”

Raoul has fallen in love with his childhood sweetheart. The Phantom declares he was bound to love her, once he heard her sing. Leroux states, “Raoul suffered, for she was very beautiful and he was shy and dared not confess his love, even to himself. And then came the lightning flash of the gala performance: the heavens torn asunder and an angel's voice heard upon earth for the delight of mankind and the utter capture of his heart.”

How does the Phantom view him? A rival, of course. A threat to his influence over the Opera House and to his desire for Christine. He accuses Raoul of sins. What are his sins? He embodies the “garish” light of day that never shows him compassion. He represents the world of society that has rejected him. He calls Raoul an insolent boy, negating his manhood. He is foolishly brave, invading his territory and daring to share in his triumph. He rants that he’s a slave of fashion, indicating his shallowness. The unseen genius calls him an ignorant fool. Raoul, is the world that shows the Phantom no compassion, but begs for compassion itself.

How does Raoul view the Phantom? A rival, of course. At first he denies his existence to Christine, in order to discredit him. He views him as a threat that needs to be stopped and destroyed. He gives him no credit for being a genius who has inspired Christine’s voice, only saying his genius has turned to madness. He is unable to relate to the Phantom’s plight. The Phantom is a dangerous rival for Christine’s affections, because he can touch her soul in places that he is incapable of doing so.

How interesting that both of these men are jealous of each other. The Phantom jealous of Raoul, because he can provide Christine the things in life he cannot - beauty, acceptance, wealth, and status. Raoul jealous of the Phantom because he can provide Christine things in life he cannot - tutoring, inspiration, music, and passion. Raoul touches her purity. The Phantom touches her passions. Yet neither of them possess her heart completely. Each possess only that part they are able to touch.

Do we relate to Raoul? I dare say not many. Though he represents light and all that is good, we recognize his sins of shallowness and his inability to be moved by the sufferings of the Phantom. Raoul and the Phantom, symbols of the age-old struggle of light versus darkness, jealous of what each possess.

Not many of us live blissful, prosperous, lives full of beauty. Perhaps that is another reason we relate more so to Erik, for he embodies all that we long for and the pain we sometimes feel. What are your thoughts? What do you see in Raoul? Is he a saint or sinner? Is he able to touch you at your passions or lot in life, or do you view him as shallow and self-centered? Is he to be envied or pitied? As you ponder the thoughts, look deeply inside yourself. Do you struggle with jealousy over what another possess in life that you do not? I'm sure that answer depends on your point of view behind the mask of your life. Perhaps another lesson can be learned, that whether we are saint or sinner, we are all in need of redemption.

Your Obedient and Respectful Student

Order Lessons From the Phantom of the Opera Here

Betrayal

One cannot talk about Christine without talking about her act of betrayal towards the Phantom. It is a pivotal point in the story, both on the rooftop and then climaxing at the Point of No Return. The first betrayal unrecognized by her on the rooftop, the second an act she consciously chooses to do. Why did she betray the Phantom? We hear Erik’s words to her in the lair asking why. Christine is silent, however, and has no words to defend her actions. Christine, why are you so silent? Why did you do it?

On the rooftop when Christine drops the rose and chooses a life with Raoul, we see she is drawn to him for protection and out of fear for the Phantom. Unknowingly to her, Erik is in the shadows watching her choices, and afterwards declares this is how she repays him for giving her her voice, by betraying and denying him. I doubt at that moment Christine was consciously thinking of betrayal, but it was an unconscious move away from the Phantom’s influence towards Raoul. The thorn of rejection pierces Erik’s heart.

The second betrayal, of course, is a more conscious decision Christine makes. We understand from the lyrics sung in the chapel with Raoul that she is twisted in being asked to betray her Angel of Music. She pleads with him not to make her go through with it. She asks herself how can she betray the one who inspired her voice, recognizing the debt she owes him. Yet in the next breath she reminds herself how she abhors the Phantom’s character, because he kills without thought. She believes betrayal is the only way to purchase her freedom, but on the other hand wishes she could refuse. Christine is conflicted and torn, and feels forced to play out the Phantom’s Opera. She also recognizes that even if she betrays him, he will always be there singing in her head and never free. Raoul places the entire burden of their freedom together on her shoulders.

At the Point of No Return, there is a subtle betrayal also played out between Christine and Raoul. There is no doubt that Christine had an attraction to the Phantom. I came across a fascinating statement that Patrick Wilson said in an interview. “I spent three months shooting the love story with Emmy, just hearing about this other guy {the Phantom}. When I finally saw them together {at the Point of No Return} and felt the passion they had for each other, it was heartbreaking.” Christine, I believe, does struggle for a brief moment at the Point of No Return. It’s obvious as we watch her lying against his chest caressed in his arms and lost in his embrace. When he asks her the ultimate question to spend the rest of her life with him, she is awakened to a reality she’s not willing to accept. Her answer is an act of betrayal.

Christine knew what was behind the mask, and she also knew the violent reaction it would elicit from Erik when she exposed him. Christine did the unthinkable in order to buy her freedom. That was the price she was willing to pay. However, in striping the Phantom’s mask, she strips him of his last ounce of dignity and exposes that most vulnerable and painful part of his humanity to his enemies. That is the definition of betrayal. The pain Erik endures is unimaginable, as it has come from the woman he loves. It cuts him deeply and only further leads him down the path of madness to take what he so desperately wants, Christine, leaving a path of destruction behind him.

What about Raoul? He played his own part in Christine’s betrayal in forcing her to perform the Phantom’s Opera. As I keep pondering his act of buying the Phantom’s music box at auction and taking it to her grave, I keep asking myself for what purpose? At auction he pays 30 francs for the music box, which is the age old symbol of the price of betrayal - 30 pieces of silver.

So what can we learn from this horrid act of betrayal against Erik? As much as we may like Christine and wish she would be with him, the story is what it is. We are not given an alternative ending on the CD, though many would prefer to see Erik happy with Christine. We imagine alternative endings to satisfy how we would like to have seen the act played out. We write sequels to quench our thirst and satisfy our need for different outcomes than what the original author has left us to ponder. Why? Because the reality of the sad ending may be too painful for us to accept. Perhaps because we equate those sad endings to our own lives.

However, in life, we do not have that option to do rewrites. As humans, we must live with the consequences of our actions, whether good or bad. All our acts play out. We cannot go back and rewrite chapters or provide for ourselves alternative endings to painful moments. Each chapter in our lives is an unchangeable story penned in eternal ink. As we make our choices, we must remember that our acts not only play out in our own lives, but they inherently touch and effect those close to us -- just as the actions of Christine, Erik, and Raoul all touched each other.

So why do you think Christine betrayed the Phantom? Do you believe she did it to please Raoul? Did she do it because she wanted to be free of the Phantom? Do you think she regretted her actions afterward when she realized the pain she had caused him? No doubt Erik’s voice still sang songs in her head throughout her life and Raoul knew it. Why else would he have purchased the music box to place at her grave? A music box he thought would still be playing after all of them were dead.

Your Obedient Servant,
The Phantom's Student

Order Lessons From the Phantom of the Opera Here

Christine

Christine Daae - I have probably agonized more over this post than any other. Why? Analyzing Christine has not been easy. Erik I understand. His humanity, his pain, his yearning. I feel somewhat removed from Christine, however, so this tends to be harder. I also know there are passionate feelings regarding Erik and Christine among fans and the ultimate outcome of the story. After all, Christine's decision not to choose Erik is a painful ending in many ways.

Christine has been portrayed in the original work by Leroux, Andrew Lloyd Webber’s play, and the movie by Webber and Schumacher. Each of them have identical elements, all with slight variations. For this post, I’m going to focus on the Webber/Schumacher version of Christine to find a single line of thought. Otherwise, if I don’t, I fear I may blur the lines of my interpretation. I’m also going to focus only on one aspect of Christine and her journey in this story. However, as usual, I leave room for comments from my Leroux friends to discern her character and motives from the original work, and for all others who wish to express their thoughts on beautiful Christine Daae, the object of the Erik's obsession and love.

We all know the story. Christine is an orphan. Her father has passed away, and she has come to live at the Opera House. With the passing of her father, she clings to a promise that he will send to her the Angel of Music to watch over her. She has been visited by the Angel of Music, who teaches her, protects her, and guides her. He, in a sense, becomes a father figure. When she learns that the Phantom is in fact her Angel of Music, Christine begins to relate to him as a man instead. He reveals his human side to her, and she is drawn to him as a woman with different desires.

It’s interesting to note that Joel Schumacher, the director of the movie, purposely played on this thought throughout the score in both her looks and dress. When Christine is with the Phantom, she is seductive, attractive, her hair flows freely, her makeup is darker, and her clothing more revealing. Schumacher’s intent behind her transformation from her dressing room to his lair was to show that she was drawn to him in a trance-like state, hypnotized, and fascinated by the Phantom. The transformation was in her mind, and this was the effect the Phantom was having upon her drawing out her womanhood. Of course, this theme carries throughout the movie and climaxes at the Point of No Return.

After Christine becomes frightened of the Phantom, she turns to Raoul for protection and security, and becomes romantically involved with him. Now he is her guide and her protector, and in a sense, her new father figure. Her appearance when in Raoul’s presence is always one of innocence and her behavior is childlike. Her hair is pulled back, her makeup is light, her clothing modest. This is the innocent Christine still looking for a guide and protector in life, which she no longer finds in her Angel of Music.

Christine is on a journey in this story, as well, and that is a journey toward self-realization and one of growth becoming her own person. For Christine, that turning point comes when Erik stands before her with a noose around Raoul’s neck demanding her to “Make your choice!” Up until this time, she’s always been guided and watched over by the Angel of Music or Raoul. Choices have been made for her. She’s looked to someone else to tell her what to do. Now she is alone, faced with a horrible decision she must make, and it’s that decision that releases her into maturity and womanhood. She finally becomes her own person, not dependent upon another, as she has been since her father died. She chooses her own path. What motivates the decision she makes, however, is another discussion in itself. Any of those motivations could have been birthed from fear, compassion, love, personal desires or ambitions. Those are the questions you’ll have to answer for yourself on how the story reveals Christine to you.

My opinion? I think for the moment Christine made the right choice for both her and Erik. Two emotionally incomplete people do not make a happy whole. Erik needed to learn true love and to be touched at his humanity so he could gain his own sense of person and self worth. Christine in her own way helped him come to that realization. Christine needed to mature, become her own person and less dependent upon others, growing into womanhood. Erik in his own way helped her come to that realization. If her life with Erik would have been based on either coercion or dependency, there would have been no happiness for either of them. Erik and Christine were both on a journey together and that was a journey to wholeness. Where that journey continues to lead them, is best left for your imagination or from the hearts of writers who continue to give us sequels into their lives.

The Phantom's Student

Order Lessons From the Phantom of the Opera Here

Obsession

Obsession. What is it? Obsession is defined as a persistent disturbing preoccupation with some one or something. Obsession becomes obsession when your desire becomes unreasonable and you lose a sense of reality crossing a dangerous line to obtain, through violence, that which you obsess over. Was the Phantom obsessed with Christine or did he love her?

Christine had been in Erik’s life for many years. Coming to live at the Opera House as a child, Erik took interest in her. He related to her, no doubt, because she was orphaned as he was. He became her protector, an angel, a guide in her father’s absence. He watched her grow. He spoke to her in the night, and came to her in her dreams. Through the walls, through the mirrors, and in the shadows he was there guiding her.

He recognizes her potential as a singer, and begins tutoring her. He develops her skill. He gives her a voice to sing, which expresses his genius in music. Christine in many ways is the Phantom’s creation. He needs her to sing his music. She’s his glory, his triumphant, that he doesn’t wish to share with another. Christine is his entire focus in life. She is constantly on his mind.

As she matures into a beautiful sexual young woman, he begins to desire her, worship her, and fantasize over her. He plans her future as a singer and his wife. He fills his lair with sketches of her, Opera scenes of her singing, and a wax figure of her in a wedding gown. He surrounds himself with reminders of Christine everywhere in his lair, and dreams of the day she will be his. What happened to Erik? Did he try to fill the void of his solitude with one thing alone -- Christine? Did those obsessive thoughts over Christine turn around and consume him in return? When does one cross the line from reality into obsession?

Obsession becomes disturbing and unhealthy when it leads us to places that are not reality and causes an individual to commit violent acts in order to accomplish the dream they are driven to have. Erik, having never loved or been loved, is immature and doesn’t understand what true love is. He’s not able to discern between obsession and love yet. His obsession drives him to commit violent acts. He believes he loves her, but it’s only when he crosses the line from his obsession to true love that he comes into the knowledge of what loving Christine truly means.

At the point when Erik lays down his obsession to keep her in his captivity and gives her freedom, is when he crosses the line back into reality and into the meaning of true love. Erik tells Christine in tears the last time he sees her before she leaves with Raoul, “Christine, I love you.” He did. He truly loved her at that moment. It was no longer obsession driving his actions, it was true love.

Obsession doesn’t sacrifice, it only takes.
Love sacrifices, it only gives

I’ve met, on my Phantom journey, many individuals who say they are “obsessed” with the Phantom and his story. Though I don’t believe it to be obsession in the literal unhealthy sense, I think it’s more of a “preoccupation” with us, because we so relate to Erik. Every once in a while though it’s probably a healthy thing to shake ourselves back into reality and not live so vicariously through the story. What do you think? Are you obsessed with the Phantom or do you just love him? I would be interested in knowing. I have a feeling I'm going to get a few comments on this post.

As always,
Your Obedient Servant

Order Lessons From the Phantom of the Opera in Paperback Here