Following their acclaimed Stratford Festival debut in Rent and A Wrinkle in Time last season, Nestor Lozano Jr. is currently wowing audiences as Tink in the Stratford Festival’s Wendy and Peter Pan. Ella Hickson’s fresh interpretation of the beloved classic by J.M. Barrie was commissioned and originally produced by the Royal Shakespeare Company. Directed by Thomas Morgan Jones, Wendy and Peter Pan presents a modern twist on the timeless tale of Neverland, focusing on the challenges and emotional complexities of growing up. In addition to Lozano, the exceptional cast is headed by Cynthia Jimenez-Hicks as Wendy, Jake Runeckles as Peter Pan, and Laura Condlln as Hook.
In a Zoom interview with the lively Lozano, they begin by explaining how the show’s complex themes collaborate to create an energizing narrative, particularly for younger audiences. “This production reimagines the story of Neverland through Wendy’s eyes, and introduces a fourth Darling child who gets sick in the beginning, and the family navigates their new lives with grief.” Lozano explains. “So it’s a story about loss, finding oneself, and finding comfort in each other. It empowers young viewers by showing that courage, imagination, and friendship can overcome any obstacle.”
A major part of the act of the show’s thematic heft is Tink, who is brought to life by Lozano with a delightful and expressive blend of charm, energy, and heart. Tink upends audience assumptions about – and breathes delightful new life into – the fairy “Tinker Bell”. And Lozano finds deep personal and artistic fulfillment in portraying this fairy with attitude and heart, while embracing the rich themes of inclusivity and representation that define this production.
Of course, Lozano’s Tink is vastly different from the image many hold of the iconic fairy. Gone are the bells and the overt cuteness of the animated Disney character. Instead, explains Lozano, Tink is a more grounded, albeit mischievous and “fairy, who wants to protect and keep Neverland as it is…. We call her ‘Tink’ in our version, and there’s no ‘bell’ part. She’s just Tink, and a fairy.“ What this means to Lozano is simple: “To me, fairies are imaginary characters, so our imagination can run wild with them . . . and I’m grateful to our director, for embracing that.”
For Lozano, running wild is grounded in a personal connection to Tink’s protective nature – especially when it comes to the fairy’s relationship with the Lost Boys, who are effectively her family. Having grown up helping to raise their own siblings, Lozano identifies strongly with this element of Tink’s character: “Tink is sassy, and so am I! There’s a bit of attitude in this package, but she has a big heart and only wants to protect her family, the Lost Boys, from the evils of the outside world. That’s where we connect,” Lozano smiles. “I’m family-oriented, having grown up raising my siblings, so being able to relate to her is kind of cathartic.”
While the role is replete with moments of joy and personal reflection, playing Tink also comes with its challenges. One of the most physically demanding aspects of the role has been the costume, which involves not just clothing, but also intricate technology, such as LED lights that require constant adjustment and careful handling. Periodic “frustration from running around in layers of clothing” has been the biggest surprise of the role: “I have an undershirt, a dress, wings, and an LED light-up chest with batteries on my back. I’m carrying so much equipment as Tink!” Lozano laughs. “It’s heavy,” they continue, “but it fits her character since she’s all about tinkering!” So it’s fitting that “my costume is always being adjusted, with batteries and LEDs being fixed. There are a lot of moving parts!”
The logistical hurdles of the costume and occasional hiccups with the flying apparatus require Lozano to be on his toes at all times. When the unexpected has occurred, their ability to improvise has proven invaluable and has yielded moments of humorous spontaneity. The very first time the flying apparatus failed to deploy, “I just decided to stay in character and had fun with it, crossing my arms and tapping my feet like, ‘come on, y’all, we have a show!’ It creates a special moment for the audience, and they’re always so gracious and ready to have fun.”
The major appeal of this reimagined classic lies in its proven ability to resonate with audiences of all ages – especially children. Lozano takes great pride in the impact the show has on younger viewers. “The greatest review for me is seeing the kids at the edge of their seats,” Lozano explains, with eyes sparkling. “Our director pointed out that children are the hardest audiences because they’re experts in wonder, imagination, and creativity. When they’re wide-eyed and excited – and applauding when they see a crocodile on stage, or at the very first entrance of Tink when she comes out – I know we’re doing a good job. There are children whose excitement just bursts out of them. This show is for young audiences: it gives them permission to play, have fun, and be creative.”
As an artist, Lozano is also passionate about the themes of inclusivity and representation that the production champions. Being a Filipino Canadian performer and embodying a character like Tink allows Lozano to celebrate their identity on stage and create a meaningful connection with audiences. “My Filipino-ness is a big part of how I play my role,” Lozano proudly states. “Being Filipino Canadian is a big part of my life, and even though I was born and raised in Toronto, I was raised with both languages. I’m representing not just a different side to gender. Being Filipino is important, too – especially since our lead character is a Filipino woman, and the show includes Filipino instruments. My Filipino-ness is a big part of how I play my role.”
As the production moves forward, Lozano remains excited about the future, even if their exact path remains unknown. In the unpredictable world of theatre, they find solace in embracing the opportunities that come their way: “This job teaches me to live and cherish the moment, and I’m finding peace in that. I’m excited for the future, but not knowing is also part of the magic.” That said, Lozano is eager to explore new possibilities. Having played many roles that are “cutesy and fun,” they feel ready for more complex characters: “It would be nice to explore a villain—someone who stirs up the plot.” Warming up to the idea, they toss a suggestion out into the universe: “Maybe a role like Ursula in The Little Mermaid, who was said to be inspired by a drag queen, would be interesting. After all . . . villains don’t see themselves as bad. Exploring someone’s desires and how far they’ll go to get what they want is relatable, and would be a fun challenge.”
As we conclude our conversation, it’s clear that Lozano views their work as an actor – and this production they are part of – as something substantial, meaningful and essential: “I just want to reiterate that Wendy and Peter Pan is a true celebration of inclusivity and representation. It creates a world where we don’t have to worry about what others think, and for 2 ½ hours, we can help everyone escape, imagine, and play. Especially in today’s world, theatre is essentially a healing space for people. It’s such a privilege, but it’s also a responsibility that we have as artists – to reflect the world and help heal it.”
Wendy and Peter Pan continues until October 27, 2024 at the Avon Theatre. Visit stratfordfestival.ca to reserve tickets.
© Arpita Ghosal, SesayArts Magazine, 2024
