Sing and dance with 7-pound flaming candles? The ‘impossible’ stamina of ‘Beauty and the Beast’s’ Lumiere

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”

Danny Gardner is on fire, literally and figuratively. The actor lights up the stage eight shows a week as Lumiere, the servant-turned-candelabra in Disney’s touring production of “Beauty and the Beast,” currently at the Hollywood Pantages theatre through Sept. 6. A scene-stealing character that requires massive talent and stamina, the role also calls for the actor to handle live fire as his hands are strapped to a pair of heavy prop candlesticks.

The effect is a sight to behold, but there’s an entire team at work behind the scenes and a good-natured actor who doesn’t mind flames, sweating and being unable to use his hands for the entire run time. Making it work is a show unto itself.

For the actor, it’s worth it. A self-described “song and dance man” who’s appeared on Broadway in “Dames at Sea” and “A Christmas Carol,” Gardner says Lumiere has been a “bucket list” role since seeing the animated movie as a kid. And the first touring production of the show presented by Disney in 25 years has become a family affair. Gardner’s wife, Emily Larger, is in the ensemble and serves as assistant dance captain, as well as an understudy for Mrs. Potts and Madame de l’Amour. The New Jersey-based couple have been traveling with their 1½-half-year-old son and dog, Maple, for more than a year.

Even before Gardner shows up an hour before curtain, a backstage crew is hard at work crafting Lumiere’s signature flame effect. The “handlesticks,” as they’re referred to, were created by special effects designer Jeremy Chernick. They reside primarily under the care of head prop master Andrew Crawford, who is currently making sure the small butane tanks — not unlike those used in camping stoves — have enough fuel.

Crawford also has to touch up the paint on the props from time to time, due to effects of the fire. He is aided by assistant prop master Robyn Monkarsh, who helps oversee the box backstage in which they are housed. That same box, lovingly referred to as “the stocks,” is also used to attach the handlesticks to Gardner’s body. As the nickname suggests, this is accomplished when he slips his hands inside so they remain incapacitated as the props are strapped to his wrists. Gardner’s schedule is the same each day upon arrival. He applies his own makeup before being fitted for his first wig by hair and makeup supervisor Haley Richardson. He then takes to the stage to stretch and warm up, the packed house already buzzing on the other side of the velvet curtain.

Actor Danny Gardner has a wig fitted before taking the stage as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

His first costume is used briefly, for about 20 seconds at the top of the show when Lumiere appears in his human form. As soon as that scene is done, Gardner has a matter of minutes to change into an entirely new outfit and white wig with help from hair and makeup assistant Kenzie Biundo and wardrobe assistant Maya Patrick.

Then it’s time for the main event: Just a few feet from where Belle is singing about adventure in the great wide somewhere, Gardner takes his place at the stocks while Monkarsh and Patrick surround him like a NASCAR pit crew and strap on the handlesticks. The wrist braces resemble the kind sold at a drugstore to help with tendon pain, the only difference being each comes equipped with a 7-pound weight at the end.

Actor Danny Gardner must spend more than two hours in the 7-pound flaming candle props he uses as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre.

(Brian Feinzimer / For The Times)

When he first booked the part, Gardner says he tried to prepare for what was in store. “I had 5-pound weights in rehearsal, but until you’re actually there, you don’t know what to expect,” he says. “The first time I rehearsed with handlesticks, I got maybe a quarter through the number and I said, ‘This is impossible.’”

• Share via Close extra sharing options

As Lumiere in Disney’s touring production of “Beauty and the Beast” at the Hollywood Pantages Theatre, Danny Gardner performs eight shows a week strapped to flaming, 7-pound “handlesticks” that turn his hands into live candelabras.

He admits he wrote to an associate choreographer asking if there was a solution — possibly making them from plastic foam — and was politely reminded that they would be lighted on fire.

“I really thought they were going to have to find someone else,” says Gardner, adding that associate director Sam Scalamoni assured him that every Lumiere has their doubts. Scalamoni also pointed out that the original Broadway Lumiere, Gary Beach, had it even worse.

“His were even heavier and he had a jetpack that went down his arms for the gas, and for safety he had to push aside a plate to press the button to set them off,” Gardner says. “So what I have now is considered the Cadillac of handlesticks.”

Prop master Robyn Monkarsh works on the flame-equipped “handlesticks,” which weigh 7 pounds each and must be worn with a heavy flame-retardant costume.

(Brian Feinzimer / For The Times)

Once everything is in place, Gardner tests the fire — there are buttons he presses with each thumb to ignite the flame. When he releases the button, the flame goes out. He can’t remove the props, except during intermission because he’s on stage for most of the show. When the rare break arrives, such as during the “Gaston” song, Gardner returns to the stocks to rest his hands.

“Sometimes it’s kind of nice to enter a meditative state and not be scrolling on my phone,” he observes. “Especially as a fairly new parent, I’m not used to those moments of solitude.” The role of Lumiere results in a lot of sweating — the showstopping “Be Our Guest” number alone is exhausting just to watch. But the added heat from the flames doesn’t help. Neither do the costumes, which are flame retardant, and add additional heft.

“It’s like wearing a weighted blanket and oven mitts,” Gardner notes. “It’s almost like what race car drivers wear, it’s very thick.” He has to constantly hydrate, so he places big cups of water on both sides of the stage with straws, but sometimes the crew and other actors help him pick up the cup.

Actor Danny Gardner performs as Lumiere in “Beauty and the Beast” at the Hollywood Pantages Theatre. He is onstage in his heavy “handlestick” props for most of the 2½-hour musical.

(Brian Feinzimer / For The Times)

“We joked about getting him one of those water dispensers that gerbils use,” says Crawford. “He can’t use his hands at all so we also have to dab him with towels. He can’t even scratch his nose.”

Remembering to not use his hands can be its own kind of problem. One of the only times Gardner says he’s ever worried about his safety was early in the run when, without thinking, he adjusted his wig with the flame on. He was walking on stage to greet Belle, played by Kyra Belle Johnson, and relied on her expression to let him know if he was in danger.

“I knew if she looked at my hair, I’m on fire,” he recalls. “But she looked me in the eyes, so I knew I was OK.”

Gardner makes his job look easy, but he says his understudies accused him of downplaying just how challenging it can be. “They’re amazing and fantastic, but they both came to me afterwards,” he reveals. “And they said, ’This is hard. You should have complained more.’”