Jack Wolfe is ending the year with his film debut in The Magic Flute and begins the new year in the new season of Shadow and Bone. It’s safe to say 2023 is the year of the Wolfe.

Jack Wolfe describes himself as an actor “somewhere between The Neverending Story and The Little Vampire.” At surface level both of those films may seem like typical children’s films, but there is something quietly simmering underneath the surface for those that understand it — and Jack Wolfe gets it. After performing across stages in productions like Pinocchio and The Magician’s Elephant, Wolfe has learned the importance of diving into the mind of his character, picking apart what makes them tick and finding a connection between him and them. In The Magic Flute, he does just that.

In his film debut in The Magic Flute, Wolfe portrays the lead character Tim Walker (and, spoiler alert, Prince Tamino). The film is the most recent magical adaptation of the 1791 opera by Wolfgang Amadeus Mozart, a tale that weaves together fantasy, grief, love, and — of course — music. Like the characters in the aforementioned films Wolfe holds close, Tim is struggling to find his place amidst the pressures of being a teen and the grief he feels from the loss of his father. Using escapism as a means to cope, Tim quite literally dives into the arts, something likely every person reading this and watching the film can relate to.

As he ends his year with a truly magical film debut, Wolfe is finding his place in Leigh Bardugo’s beloved fictional gang, The Crows, as he joins The Grishaverse as Wylan Hendriks in season two of the highly anticipated Netflix show Shadow and Bone. It’s a role that means just as much to Wolfe as it does to the fans of the series — and his character truly is the final piece of The Crows that was missing.

In conversation with 1883 Magazine’s Kelsey Barnes, Jack Wolfe talks about his film debut in The Magic Flute, the importance of connection and collaboration, portraying Wylan in the highly anticipated second season of Shadow & Bone, and more.

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How would you say you’ve grown as an actor between when you first started and now?

The first time I was ever paid to be an actor was for a two day workshop of a new play at The Lyric Theatre in Belfast. I had just finished training and had never been on an airplane before. It was really special to jump into something that felt so creative and just spend hours each day developing ideas and having exciting conversations. The development part of any project is such an exciting time, and its always a really cool thing to be invited into the room to share it for a bit. I think as you grow as a person, you grow as an actor. I definitely have a lot more to draw from now, but I’ve always enjoyed the playing the most. I think I’ve always been a bit of a clown.

Something that I appreciate about your work is that every project is quite different from the last. Is it important to you as an actor building his craft to constantly change things up?

Well, I think so little is actually in your hands or in your control as an actor, especially at the beginning. I’ve been lucky to be able to work on projects that feel very far away from each other  — for me that has been very exciting but it is something I’m also thankful for. I’ve always been drawn to things that make me feel a little scared. I love learning about new things so the experiences I’ve had working in different spaces with different people I think has been really important for me.

You’ve had an extensive career in theatre already working with the likes of the National Theatre and Royal Shakespeare Company. How has it been transitioning to more film and tv work and how has it been applying your stage techniques on screen?

Extensive is such a kind word! I don’t think I’d use that myself! I’m definitely grateful to have had those experiences, I had always wanted to work there and I’ll always want to work there again. What I’m learning is that practically film and theatre call for completely different things but both are at their best when collaboration comes first, when people feel supported and safe. Even your performance on screen is a collaboration between you, the director, the editor — your performance is created in the cutting room from choices you made on set. That’s a huge difference from living the entire story every night in the theatre! But ultimately I think the feeling of company should be the same. Looking out for each other.

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The Magic Flute marks your film debut. It’s a truly stunning movie and a great one to start your film career with! Can you tell me a bit about the film, your character, and what attracted you to the script?

I think it is sort of genre-defying in many ways; it is in some parts a real, almost nostalgic fantasy adventure film, and at the same time a delicate coming of age story. Set against the backdrop of the high fantasy of Mozart’s The Magic Flute, the film also explores escapism and how jumping into the arts for a while — as Tim, my character, literally does in the film — can both distract us and teach us in equal amounts. Tim is dealing with all of the pressures and confusions of teenage life whilst also processing a lot of grief at the beginning of the film after losing his father. The Magic Flute, his father’s favourite opera, is also a way for Tim to connect to him again. Music is a huge part of my own relationship with my parents and that was definitely something that resonated when I first read the script.

Your character explores grief in a really interesting way after being accepted to a prestigious music school. What was it like depicting that on-screen?

One of the things that the students, especially Tim, come to realise in the film is the concept of ambition becoming isolating. Tim’s story isn’t explicitly about his relationship with grief, or his first love, or his fears about not realising his potential as a musician — these are all things that land in front of him and he takes with him on his journey, as we all do. What really matters to me is that there are times in the film when Tim is forced to face these things and share them. In the way that music is best when it is shared, so is grief, so is ambition and so on. It is ironic that the training at the music school can make the students feel so alone when you could say the entire point of the form is to share it and experience it together.

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Outside of the original story, what else did you do to prepare for the role? I know some actors make playlists for their characters…

…and I am absolutely one of those people! I make playlists, I make boards and write notebooks. Funnily enough, none of this really is the work that helps me in the end, but I enjoy it so much. Jumping into a world at the very beginning of a project is so, so exciting and I jump in completely.

This film had quite a specific preparation that was mostly about getting out of my own head and out of my own way. Playing a character that sings famous arias in a beloved opera was a concept that was quite daunting – “am I ready for this? Am I allowed to sing arias like this? Is it even legal?!” Alongside it being my first actual feature film experience with its own excited/scared feeling. I was very much home with my anxiety but had incredible vocal coaching that was mostly remotely as a lot of preparation took place in 2020 from Sam Kenyon who made me feel like I could do anything, that the fear was helpful in many ways.

On that note, shooting during covid presented so many challenges, as it did for so many productions. The magic of working on a film that was a collaboration between seasoned film actors, younger actors, predominantly theatre actors, comedians, recording artists and opera singers — all available to work together because theatres were closed — on a film that inherently celebrates an opera, a live art form, was never lost on me.

The film truly is magical — when you received the script, did you feel that energy there?

Thank you! If I’m completely honest the energy came from meeting the team for the first time. The producers and Florian Sigl, the director, came with so much ambition and a real care for the material. The way they talked about the project, what they imagined for it and what they wanted it to do for people was with such love that I knew it would be a process that would be very special.

Knowing what you know about Tim’s character arc, what is one piece of advice you wish you could give him?

Get some sleep! Most of Tim’s adventures take place in the middle of the night, so I think he just deserves a really really good rest.

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If there is something you, Jack, are going to take away from the film, what message would it be?

I’ve taken lots with me. Practically, it was a huge learning experience. Having the time to really see just how many people are working in front and behind the camera together to tell one story. Learning what to do to try and make everybody’s job as easy as possible and have as enjoyable a time as possible. I do really hope the film resonates a little with people who might not have experienced opera before — if it can lead someone to decide after our film that they’d like to take their parents to the opera and see it live and that it maybe feels more doable, or accessible, or real then I think I’ll be really happy with it. Inspiring someone to go and see it for themselves live, become their own type of opera fan with their own opinions and favourites and least favourites, who will one day be part of the group fighting for the form’s protection. Live theatre, live opera are forms we now really need to protect – we’ve seen this month just how precarious it can all be. The bigger the audience, the bigger the support.

Now, I know the new season of Shadow and Bone is upcoming….

Aaaaaaaaaaaaaaah!!

I know we can’t talk much about it, but I’d love to chat to you about your character! Wylan is completing the crows as they are known in the books. What was it like joining the cast?

The best kind of surprise. I never, ever saw that coming. I loved the first series and I love the books. I took everything I learned from the film with me into shooting Shadow and Bone and was welcomed by the kindest cast. Found family is a huge theme for the crows in the books, which is fitting. For both Wylan and myself.

Wylan is a queer character which I know will mean a lot in regards to representation! What does it mean to you to be portraying someone as loved as Wylan?

It really means a lot to me. The author of the books, Leigh Bardugo, created a universe that is full of magic and monsters and heists and danger but at no point is Wylan punished for the love he finds on the way. It feels special to be a part of a universe in which queer characters can also be dangerous and flawed and complicated. Wylan really feels like a little home. I also understand what it is like to finally have a character you’ve imagined in your head make it to screen to live and breathe and walk etc. So, I really cared about that going into the project and took a lot of care and protection. I’m just really excited to be able to talk more about it and find out what people think about what he gets up to in series 2!

Lastly, if you could manifest something for yourself this year, what would it be?

Anything at all? There are lots of people I’d really like to see and catch up with. Some big get together with lots of friends somewhere really cosy sounds pretty good to me.

The Magic Flute is out now in the UK. Shadow & Bone Season 2 premieres on Netflix next year.

Interview Kelsey Barnes

Photography Joseph Sinclair at John Parkinson Agency using Hasselblad

Styling James Yardley at The ONLY Agency

Makeup Lauren Kay

Hair Kieron Webb at The London Barber

Location St George’s Garrison Church, Woolwich. Special thanks to Ruth Dodson

Styling assistant Ollie Last

Special thanks Ace PR