The Phantom's Paris

The ouvreuse (lit. “opener”) is a female usher in charge of a box at the opera. They were wholly female in the 19th century and wore black dresses and caps with pink ribbons that marked their profession. They sold programs and flowers or bouquets to patrons, and they were known for their keys and little foot stools, which they could rent to patrons for a few extra cents. They were also a trope in French media, from their depiction in books to songs to newspaper caricatures. As a result, there were a lot of stereotypes surrounding these figures and the way they were used in French literature.

The Trope

They were stereotyped as older women who were poor, uneducated, and stingy. They were often depicted as being the mother of one or more dancers at the Opera and were also sometimes depicted as former dancers or choir members themselves. They were thought of as rude and greedy, always listening in on conversations, gossiping, and generally considered to know everything about everyone's private business. They were portrayed as asking for tips for every service, from providing programs to hanging up coats and umbrellas to lending their little stool to patrons. There were songs dedicated to their supposed greed, complaining about them charging for every little service and constantly nagging patrons. The stool in particular featured in many of them, as patrons resented the box keepers for charging for their stools. However, it was also known that paying for a box keeper’s stool would gain their favour and allow you privileges such as the best seats and better service.

We see this in Leroux’s novel when the managers are questioning Mme Giry about why Erik requested a stool, as it was seen as sucking up or giving in to the box keeper’s pressure. Erik does it to win the favour and loyalty of Mme Giry, in addition to his generous tips and purchases of flowers. He knows how the power dynamics work in the opera house, and by renting the stool from her and buying flowers from her, he’s shown her some small courtesies that were very obvious at the time, but much more obscure now. This is also why the managers are so baffled, because it was so often portrayed as a way that box keepers extorted money, so it wouldn’t make sense to them to have someone buy these things from Mme Giry without someone (a wife, for example) to give them to.

The Reality

The image of the box keeper in French media is heavily steeped in sexism and misogyny. Box keepers worked in poor conditions with poorly lit rooms, poor ventilation, and poor air quality from all the gas lamps. The corridors where they waited for patrons were often too hot or too cold, and as a result they were often sick. They were looked down on by most of the other opera staff and punished for patrons’ complaints, usually by suspension, the length of which varied based on the offense, anything from rudeness, to asking for too many tips, to being drunk on the job.

Box keeper positions were in high demand and very competitive. Private theatres required them to pay a costly deposit to get the position and sometimes even required the box keepers to pay monthly to keep their positions. Many also worked as concierge at other theatres during the day (as Mme Giry does in the book). They were rarely former dancers and often worked multiple jobs as nannies, chambermaids, and domestic servants to make ends meet. The pay of a box keeper was entirely reliant on tips, and they did not receive enough to make a living wage. Most box keepers would make an average of 4-5 francs a night, depending on the theatre and the social class of those whom they served. In high-end theatres they might make 10 francs per night.

Some of them lived at the opera house (as did young dancers and other staff who lived too far to be able to travel daily), while most lived nearby. They were generally women who could read and write, and some were professors, teachers, or students. Some spoke several languages, which helped with foreign patrons. Box keepers were often middle-aged women between the ages of 40-60, with some in their 30s as well, rather than elderly women, as they were required to be constantly moving and did not often get to sit. Many of them were also married, rather than the spinsters or widows they’re often portrayed as, as they would take on the position to supplement their husband’s income.

Street scene in the 11th district during the 1871 Paris Commune