Broadway Beast Chuck Wagner Talks with DisKingdom

A quick look at Chuck Wagner’s career

After starring with Desi Arnaz Jr. in the TV series Automan (1983), he launched a decades-long career on Broadway as Athos, one of the leads in The Three Musketeers (1984). Wagner originated the titular roles in the musicals Jekyll & Hyde (1990) and Svengali (1991), and the role of Rapunzel’s Prince in Into the Woods (1987). Joining Broadway cast of the popular Les Misérables as Inspector Javert, he toured the US in that role in 1992.

Which bring us to “Beauty and the Beast”, which was Disney Theatrical Productions tested and perfected in Houston. Wagner was with the cast from the start, as an standby for Beast and Gaston. Continuing on in those roles on Broadway, he was named a lead in the Toronto production of the musical, which debuted on August 8, 1995.

After two years in Canada, Wagner returned to the Broadway cast, as the lead actor for The Beast. Having starred in numerous musicals and dramas since then, he continues to share his voice in solo concert performances, including on the Disney Wonder.

The interview

You were a part of the cast of Beauty and the Beast in Houston, when it was being tried out. Disney was new to Broadway, as was the director, movie executives had sign-off on every detail, and the production had various issues to work through. You had already originated roles and been a lead in one of era’s biggest shows on Broadway, Les Misérables. Was there ever any apprehension, a moment of “what have I got myself into”, or was it clear that the show was something special?

We were all already fans of the animated feature, and with the strength of the story coupled with the fantastic music by Alan Menken and lyrics by Howard Ashman, plus the added theatrical magic of Sir Tim Rice writing “If I Can’t Love Her” made us all pretty sure it was working.

The sets, the costumes the lights… all was state of the art.

By the time I joined the cast I had, as you noted, been very fortunate to be in some great shows. Into The Woods had given me Fairy Tale experience, and my time as Javert in Les Misérables gave the me honor of following in the footsteps of the amazing Terry Mann, who first reigned in the Hairs and Horns for Disney Theatrical. I was always thrilled to be a part of Team Disney, and in my time as Standby I enjoyed the waiting and preparing, knowing that when I finally did get to play it would be ‘an E Ticket’ ride!

The Beast starts each performance as unforgiving, controlling, and leached of any hope. Was there a fine line in performing the character, to ensure that audiences can believe the transition, once “there’s something there that wasn’t there before”?

​I believe my size and passion allowed me to be pretty frightening at first, and the amazing makeup and hair certainly helps create the Beast persona. I did my best to play the ferocity and arrogance as honestly as the innocence and naïveté as he lowers his defenses and gets to know Belle. The show is an exhilarating journey, full of many varied emotions.

Your first Belle in Toronto was relatively unknown at the time, Kerry Butler. What do you remember about working with her?

​Kerry was a delight to work with, bringing a fresh-faced innocence and a glorious voice to the role. When she presents herself to the Beast for their iconic dance, her grace and poise shone like a young Audrey Hepburn. That she is a dazzling star has been proven over and over in her many Broadway triumphs.

After Kerry left for New York I had many months with my Canadian Belle Melissa Thomson (now Melissa Thomson Hicks) who is a radiant star in her own right and a joy to share the stage with.

The costume: help or hindrance?

Definitely a help, though it took some evolution to find the right mix. Early concepts had an elaborate skeletal component to add the Bison like shape from the animated design. It moved fairly well at first, but when the fur was attached it became nearly immovable and the weight was unbearable.

Fortunately Ann Hould Ward, with whom I had worked in Into The Woods, is a genius and the final costume — while a bit warm —moved very well. The boots were built around high-top basketball shoes, so I had plenty of support for the climbing and jumping.

Fun fact: The same chest mold created for the Wolf in Into The Woods was used to create the chest of the Beast (only with a lot more hair added!)

Did you have much opportunity to explore Toronto, beyond your place and the theatre?

Some. My wife Susan did some graduate psychology studies at the University of Toronto, while our children were in elementary and preschool for the nearly 2 years on my run. We stayed in The Beaches and I was able to ride my bike to the Princess of Wales.  We got to spend some time with Honest Ed Mirvish which was a real treat.  We love Toronto. I even got to sing both anthems at a few Blue Jays games!

While Michael Eisner claimed at the opening that Toronto was an equal to Broadway and the West End, nothing beats the New York theatre scene. How did you learn that you would be taking the lead?

Michael was a huge fan of the show, and as it grew in Houston and in New York I got to know him a bit as we watched over and over from the back of the house. He’s a great guy, a loving Dad and a true fan of live Theatre. He played a major role in creating Disney Theatrical, and I will always be grateful.

I moved north with my family in tow for the amazing honor of opening the Canadian Company. We were lucky that many of the ‘kinks’ had already been worked out, so our production benefitted from the lessons learned. Plus the cast was fantastic on every level. First Kerry flew back to take over for Susan Egan in New York opposite another great friend of mine Jeff McCarthy who had taken over for Terry.

After several months I heard a rumor, like you do, that Jeff was thinking of leaving so my people contacted their people and I was able to return to Broadway as the Beast a few months earlier than we had planned. I had to go back to New York while my wife and children finished out our lease in Toronto, It was a crazy few months and the show was still a huge hit so 8 times a week I got to be the big kid in the best candy shop around!

In recent years, you’ve shared your baritone in concert, as “Living the Dream”, and also taught masterclasses in your various key roles. What’s it like to share these characters in a new way?

I have been blessed with the ability to continue to share my passion for Broadway with audiences around the world and with thousands of aspiring performers in schools across the US.  First created for the Disney Cruise Line, my solo show LIVING THE DREAM presents my Broadway adventure in story and song. My eleven o’clock number is ‘If I Can’t Love Her’ and every time I sing it the Beast lives on. In my shows at sea I have the actual set from the show behind me!

Highlights from the LIVING THE DREAM can be seen on Chuck Wagner’s YouTube channel.

I was lucky to stretch my Shakespearian wings last year as Caesar, and continue to teach Masterclasses exploring many of the shows I’ve worked on. It inspires me to see these stars of tomorrow radiate the same joy in performing I still feel. I have also spent the last several years touring both my solo shows LIVING THE DREAM and CLASSIC (a collection of great Broadway soliloquies) aboard many luxury Cruise Lines and in some of America’s most beautiful venues.  Last spring I even got to tour China and was supposed to return this May!

In this post COVID-19 world, with Theatres shuttered and schools closed and the Cruise industry all but shut down I am lucky to be be working from home as a New Amazonian. It is a fun job and a great way to stay connected to our greater community in the age of social distancing.

I look forward to the days when we can once again gather together to watch great stories unfold on stage, with great songs to sing and full houses to play.

I thank everyone involved in Beauty and the Beast Twenty Five Years ago and everyone who has fond memories of our show in that now seemingly idyllic world.

I am proud to have been your Beast.