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In Love Never Dies
After the events at The Opera House in Paris, Meg works with her mother for The Phantom's project Phantasma and Meg dreams with being a superstar in the project. However, Meg's goodness and balance begin to fall after receiving the news that Christine Daaé (the only one who could surpass her) is coming to Coney Island, the place where Phantasma is being presented and that leaves her paranoid knowing that her place as a celebrity would be ruined. When Christine arrives to Coney Island with her new husband Raoul and their child Gustave, Meg gives them a falsely friendly welcome and doing what she can to be the best in the show. However, The Phantom gets more impressed by Christine than Meg. And part of this happens because Gustave has a musical talent just like her mother, Christine and leaves The Phantom surprised. At the Final Performance in Phantasma, as Meg feared, Christine surpasses her and to prevent this to happen again with Gustave, she kidnaps him and attempts to kill him in the island's docks, but Christine, The Phantom and Madame Giry are willing to stop Meg. After being cornered by the trio, Meg proceeds leaving Gustave alone but not before attempting to commit suicide. Then The Phantom tells her to stop, not to make the same mistakes he did, "not everyone can be Christine". After hearing this, in a blind rage Meg shoots at Christine leaving her deadly wounded. Despite feeling remorse of this, she just leaves the docks with her mother leaving The Phantom, Gustave and the dying Christine, who confesses him who his real father is.
In the original novel, Meg is unlike the musical adaptiation, but more like the sequel makes look: Unlike the musical, she has always been an attention-seeker and it is never revealed that she befriends Christine Daaé. In Lloyd Webber's adaptations, this personality is only shown in the sequel when Meg becomes jelous of both: Christine and her child Gustave and does anything in her hands to surpass them, even if murder has to do it.
In the original novel, Meg looks completely different than she does in Lloyd Webber's adaptations: In the novel is described as a 15 year-old teenager (being the eldest of Madame Giry's daughters) with "eyes black as sloes, hair black as ink, a swarthy complexion and a poor little skin tretched over poor little bones". However, in the musical adaptations, she is older, curvy, more beautiful, blonde, with blue eyes and she is Madame Giry's only daughter.