Buna McCreery-Njie made his North American touring debut playing Marlon Jackson in MJ The Musical, having previously performed the role in London’s West End at the Prince Edward Theatre, which marked his first West End contract. Across 2023-25, Buna was Swing in the UK & Ireland Tour of Lin-Manuel Miranda’s Hamilton and covered the roles of John Laurens / Philip Hamilton, and he played Kansas in Gypsy at The Mill at Sonning. Since finishing touring in MJ The Musical, Buna has taken a step back from theatre to focus on commercial dance, which he hopes to perform alongside music artists, and he started to get more into the dance industry in 2018, when he started at Emil Dale Academy before joining Urdang. We talked to Buna about portraying Marlon Jackson in MJ The Musical in North America and London, his time in Hamilton, being in the cast of Gypsy and his dance career.

How did you find the experience making your North American touring debut when you joined the cast of MJ The Musical, and how different was it performing in America opposed to the UK?

It was so magical and felt like a real pinnacle for me! I think moments like this are really unique as you really appreciate the moment as it’s happening as opposed to upon reflection, as you know it will never happen again. I also didn’t imagine this was how my year was going to end up when we were approaching closing the show in London, so I felt so honoured to get the opportunity to continue my journey with MJ, but with a beautiful new company in a whole new country!

I remember on the day I felt a mixture of excitement, fatigue – as I always struggle to sleep before a big day like this – gratitude, and a lot less nerves than I normally do! I think because I’d already done the show, it took a lot of the usual pressure off, which meant I could really enjoy the day. But additionally, I felt so well prepared and supported by both the team and the new company. So, all in all, I really felt the love around me, which just encouraged me to enjoy that moment!

Performing in America is very contrasting to the UK. Firstly, the etiquette, culture and demographics are very different over there. Jokes land differently, audience reactions tend to be more vocal and differ from state to state, and overall, I’d say Americans are more verbally encouraging throughout. You’re going to know if they’re enjoying it as they watch, whereas UK audiences prefer to wait until the end to verbalise their appreciation and can be more reserved.

Houses are also a lot bigger than the average West End or UK touring house, with our biggest being 4200 in St Louis! Stage door is also a bigger thing over there. I think as theatre is more widely televised, more expensive, and everyone who watches gets a Playbill, it’s more of an experience for the fans to meet the Broadway stars they watch afterwards to get the ‘full experience’.

The show itself came with many stylistic changes, new choreography and harmonies to adjust to and, with it being a touring production, the staging, backstage traffic and certain technical elements were new to me. So, it definitely took me a minute to get used to the new culture, the different appreciation for theatre, and also to not fall back into what I’d done 300+ times in London. But after a while, it just became the new normal!

Having performed with the show in the West End, how did you feel finding out you’d be transferring to America with the production, and how did you prepare for touring the USA?

I was in utter disbelief for a while! I had been manifesting moving and working in America for a lot of my contract in London, so I couldn’t believe an opportunity had arisen for me to do it so soon! When I found out, I was shooting a music video directed by our London MJ, Jamaal Fields-Green, for his wife and artist, Amber Tiara. Both of them are dear friends to me that really encouraged and supported me to chase this dream, so it felt very aligned to find out while supporting the people who supported me. I went and did the show that night in London on cloud nine, but the turnover to transfer companies was so quick that it really didn’t sink in until I was on the flight to New York.

Preparing for the show was honestly a whirlwind. I found out late January, London closed on February 28th, and I flew out just over a week after. So, I had a month to balance spending time with my friends and family and saying farewell to my castmates, working with our producers to get my visa and set everything up for joining the company on the road, to move out of my room in London, pack, and even audition up until the day before I flew to New York to rehearse!

So, honestly, I didn’t have much time to think. I just kind of had to ‘do’ and place focus on closing out the London production. Then, when I arrived in New York, I could really take time to prepare, adjust and recharge for this next chapter of being back on the road!

Is there anything you enjoyed most about taking on the role of Marlon Jackson and what was he like to portray?

Oh my, it was such a dream role for me, but very unexpectedly! I only saw the show towards the end of my audition process, so I was unfamiliar with the role and show itself. But seeing it and then doing it exceeded my already high expectations.

The most special part for me was being able to be part of the iconic Jackson 5, as well as the tour dancers, which we call ‘the Ensemble 7’, alongside other special features and moments like the infamous Nicholas Brothers. Jumping between these different roles in the show allowed me to interact with almost everyone in the company, which I loved, and made it even more fun and fresh getting to do it with amazing swings and understudies!

I also enjoyed playing so many inspirations and delving into their different physicalities, dance styles and dialects. However, playing a real person – and someone that’s still alive – comes with the pressure to do them justice and continue their legacy. With Marlon specifically, I took time to study his old J5 performances, interviews and even solo music to aim to create an informed version of my Marlon.

He was known for his dancing, which I was thrilled about, as I could really have fun with the iconic numbers and costumes. But between the songs and the bond we all created, the J5 moments ended up being some of my favourite moments. We had a brotherhood, both on and off stage.

What originally drew you to MJ The Musical, and how was it seeing the fans’ response to the show?

It was really the choreography and, of course, Michael’s incredible discography. I had just finished touring with Hamilton and was looking for a show that would be similarly artistically rich, and everyone at the time was raving about this show! I grew up loving Michael Jackson and dancing to his music, so I think the nostalgia, mixed with the love and attention to detail they put into the show, really drew me to the piece.

Finally, I really wanted to be back in London following touring, so the idea of performing where I watched shows growing up was a huge drawing point!

The fans were so amazing and unlike anything I’d experienced on a show. MJ attracts everyone from seven to 70, and so it was so unique seeing everyone from little black and brown faces with their parents seeing their first show, to people who had been to the real Dangerous Tour that the show is based on.

We also had a loyal fanbase of die-hard musical theatre fans mixed with MJ super-fans and impersonators who were so loving and dedicated. They took so much of their time and money to come back time and time again, bring us gifts and write us cards. It was beautiful being able to create a safe space for them to dress up, meet other fans, have some escapism and hear the impact the show had on people.

What was it like working on a Michael Jackson jukebox musical and performing the music and choreography?

It was very nostalgic of my childhood years! I remember those music videos so vividly and spent a lot of time when I was younger playing Michael Jackson: The Experience on my Wii. So, the show really allowed me to reconnect with that inner child, fall back in love with his iconic work and my adoration for his artistry.

I think it’s telling that normally I get sick of hearing music from a show I’m doing or have done, but whenever an MJ song comes on now – which is pretty frequent now since the movie – it makes me smile. It’s such an honour to be a small part of continuing his legacy!

That being said, it was the most challenging show I’ve undertaken physically, so maintaining my physical health was no mean feat. I really feel I only mastered my best rhythm and sustainability when I joined the US tour, about 300 shows deep!

With every show comes different strains and injuries to work through, which is hard to combat when you want to always give as much energy as the real dancers did in the ‘90s. However, it taught me how strong and resilient both my body and mind are. I loved being able to interact with the audience more than your typical show and, as it’s a jukebox musical, seeing people’s faces light up as we performed their favourite songs was magical!

What do you remember from your opening night in MJ The Musical at the Prince Edward Theatre, and how was it having the show as your first West End contract?

I remember just feeling like a kid on Christmas. Once again, I’d barely slept, plus we’d also been on an intense rehearsal schedule, so I think that combination of fatigue, coffee and adrenaline had me wired!

I started the day coming into work early to set up my station in the dressing room, then had an understandably emotional therapy session, and then from our dress run into the first show, it was really a blur up to that first bow!

The West End was always the goal for me and was where I fell in love with theatre as a kid, so it was a real landmark of pride for all the work I’d put in to get there! I most remember feeling so loved and appreciated by so many of my friends who came with my mum to support me, which was so touching. I’d really poured my heart and soul into learning the show and felt so beautifully showcased in my role, so I was just buzzing to be able to share that moment with my loved ones.

I couldn’t have asked for a better first West End contract! The show was so loved and appreciated by audiences, I loved my role and the show itself, but more importantly, we had such a great range of people from different backgrounds and even different countries. It was such a melting pot of different energies and so much talent.

We spent a lot of time socialising outside of work, which isn’t always the case in town when you can just go home to your friends or family, and it’s so rare to be part of such a high production predominantly black show. So, to have that as my first West End gig was a dream!

I was also lucky enough to have different friends and family come to see the show pretty much every week of the contract, being in London, so there was always good vibes in the building, either around my castmates or from out front.

Do you have any stand-out highlights from your time in MJ The Musical in both London and America that you can share?

Any time anything would go wrong – like a dropped line, a costume ripping, a hat falling off or a wig falling off – it would always keep things light and humorous. Especially if it was a song lyric, as they’re pop songs, sometimes the audience would also clock on!

I, both on tour and in London, had a quite tight-fitting, already pretty revealing costume rip on stage mid-number, which was pretty fun – trying to continue dancing and singing while not revealing any more of yourself.

Also, any cut show or mid-show swing on was always a fun challenge to navigate, as it spiced things up. Whether it was having gender swaps in the ensemble or having extra responsibilities, it kept you on your toes!

Additionally, we had several celebrities come and see the show, with a highlight for me being when SZA came with her parents and some of her team! It was always such an honour to perform to people you’ve adored for years, and SZA was definitely one of those, alongside Ashley Walters, Dave Bautista, Craig David and Laurence Fishburne, to name a few!

Seeing the Michael movie in LA, where Michael spent so much of his life, when we were on tour was a really notable moment. Michael’s estate is involved in both, so there was so much of the show that only we’d appreciate woven into the movie, and it reignited a lot of inspiration for a lot of us who had done the show for a long period already.

There was also the newfound energy from audiences following the release, and seeing the lines outside the theatre every day for tickets in LA was super noteworthy.

But despite this, the biggest highlights were the moments off stage! The scenes where most of the ensemble would be off stage together and we could check in, the jokes in the lift to our dressing rooms at interval, navigating misplaced costumes in new tour venues, or the backstage handshakes and traditions.

Those little laughs, hugs, smiles, tears and everything in between are the things I cherish most from both companies.

You were a Swing on the UK & Ireland Tour of Hamilton from 2023 to 2025; how was it learning your tracks and covering John Laurens / Philip Hamilton?

It was a rollercoaster that really left me feeling like I could do anything! I started the show at 20, and it was my first big commercial theatre show, so at first I definitely felt like a fish out of water! However, I gained so much maturity and knowledge, learnt so much about myself personally and artistically, and got to be part of history, as it was the first time they’d put together a full company since the show opened in the West End in 2017.

With it being the first time the show had been brought outside of London, I certainly felt a lot of pressure to deliver. But it was so great to see such an epic show from so many perspectives by swinging it, and to even get the opportunity to cover a dream lead role was just an honour, as I would’ve been happy just being a piece of furniture in that show!

Learning all the roles was a process of trial and error and working out how I best work, and there were definitely some hard and frustrating days. A lot of the show is asymmetrical and not as straightforward as mirroring choreography, but it always kept my mind active throughout the contract, and it was so rewarding ticking the roles off.

Furthermore, having that experience of learning Laurens/Philip was also so valuable and contrasting to the ensemble roles. It was probably the easiest track to learn for me, as it was so much less physically busy and I, like many, was already a huge fan of the show, so it wasn’t too hard learning the songs either.

The new challenge of exploring a leading character, investigating real history behind both of the characters and exploring the text in great detail was an inspiring contrast!

What was Hamilton like to be part of and what do you feel you learnt from being a Swing?

It’s a real journey that you only really understand by experiencing it, but there’s something very inimitable about that show. Its richness and the love for the show from both the audience and the actors really pushes you to examine yourself equally as a human and a performer.

I felt a real sense of pride being part of a show that so many people sought to be in and that is now a household name. It was the reason I discovered my first drama school, and I used to dream about doing it one day with my peers. So, it was never lost on me how much of a privilege it was to tick off a big dream so young!

I’m a massive perfectionist, so being a Swing really helped me to release the heavy expectations I put on myself. It taught me to not take myself as seriously, how I best learn and take in information, and how to be a chameleon in all aspects – whether jumping from role to role, adjusting to new notes for seven different roles, to partnering different people and singing all the different harmonies.

Finally, it really taught me about my artistry, what fulfils me and what I do and don’t like doing, which has been invaluable when approaching work since.

What do you miss about touring with the Lin-Manuel Miranda musical and performing with the rest of the cast?

I miss hearing the beautiful stories of the fans of the musical that had waited years for it to come to their hometowns. Bringing EduHam to underprivileged kids across the country, as that’s a huge part of why I do theatre. The sense of achievement you felt after every show, as it’s a three-hour marathon, and driving and exploring the different cities.

That cast, to date, are the most insanely talented bunch of people across the board that I’ve worked with. There were people in that cast I’d looked up to for years, friends I trained with, and people we were taught to aspire to be like when I was training.

So, it was unbelievable looking around on stage or doing a show watch and seeing not one person not being at the top of their game in their respective field. I’m biased, but I don’t think you’ll ever get a more decorated cast like that again, so I loved learning and growing from everyone and making so many beautiful memories with such phenomenal artists!

How was it playing Kansas in Gypsy at The Mill at Sonning in 2023?

I had so much fun on Gypsy! I was at the end of third year and part of a small cast of like 13, so it was so personal and intimate. I was just so honoured to be there, let alone working alongside some industry veterans and even people that taught me.

I spent most of the time just trying to soak up knowledge and learn from the company around me. But I loved how, because we were such a small cast, you felt so integral to the piece. It was very hands-on for everyone, jumping around and multi-rolling what’s normally a famously huge cast of people, and playing such an intimate, unique venue.

I also have such a deep love for traditional musicals, so I couldn’t have asked for a better show to start off my musical career! Playing Kansas was super fun and the most laid-back role I’ve played, as he left halfway through Act One! But I loved the amazing staging, choreography and incredible actor-musicians, and I will forever be grateful that I had that job to adjust to life as a professional and that I had such a loving company who welcomed me into theatre as an adult.

You are also a dancer, can you tell us about this side of your career?

Yes, so I started really getting into more of the dance industry around 2018, when I started at Emil Dale Academy aged 16. I started going to open classes, companies and intensives around college training and was lucky enough to be mentored by some of the UK’s most decorated teachers and choreographers.

This quickly built into something I was very passionate about and, if I wasn’t at college or seeing a show, you’d normally find me at a studio. So, a couple of years later, during the summer of my first year at Urdang, I very boldly decided to take myself to an audition for a commercial agent.

I somehow got signed and began working professionally aged 19, doing various TV, commercials and music videos around college training. I then took a bit more of a step back from that side of the industry when graduating and going straight into more theatre, as it’s hard to bounce between the two industries in a show schedule. But I aim to transition more into that going forward!

How did you get into performing and was it always something you wanted to do professionally?

I had too much energy as a kid and so tried many clubs and hobbies, with gymnastics being first at six. Very soon after, I was sent to a local Stagecoach in Watford, which really changed my life and was an escape from the bullying, amongst other challenges I faced growing up.

I quite quickly fell in love with performing and using my imagination, and would later attend other dance schools where I discovered, at around 12, that you could go to drama school if you wanted to do this as a career.

I was handed a list of different schools, discovered Urdang, and from there it became the dream that I would fulfil after attending the amazing sixth-form course at Emil Dale Academy.

So, from a young age it was always the dream and goal, and I think seeing how much my single mum and family sacrificed for me to train, mixed with a divine feeling that I was meant to do this for the rest of my life, instilled a fire and determination in me to make something of myself, which is something I still feel today!

Some of those first teachers were so fundamental in making me the performer I am today, and I am still in contact with a lot of them, going right back to my first teachers from that Stagecoach. So, it feels so gratifying being able to show those people who inspired and believed in me what I’ve achieved thanks to them!

What are some of your favourite theatre shows to watch, and are there any you’d most like to see that you haven’t as yet?

Anything black! But specifically, as of recently, I just saw Ragtime and CATS on Broadway, and both were life-altering!

I really love anything from Company to Dreamgirls, as long as the story is told! But other faves include Wicked, Shrek the Musical, A Strange Loop, Everybody’s Talking About Jamie, In the Heights and Once on This Island, to name a few.

Right now, I’d love to see Titanique, Paddington and Death Becomes Her, but also more plays, as I’m so impressed and intrigued by how close, but simultaneously contrasting, they are to musicals, both technically and literally!

How do you like to spend your free time?

I spend a lot of it with my amazing, loving friends, doing anything and everything from exploring food spots to excursions away. I also normally like to take at least a day to be with myself, to just recharge and check in.

I love anything self-care, like walking, journalling, meditating or pamper days, to travelling, adventuring, cooking and even sometimes gaming.

I also love consuming art as much as I love doing it, so whether that’s watching films and TV shows, to fashion, or going to galleries or museums. I can be a real nerd about breaking down and appreciating the art in front of me, but I also love just feeling that sense of escapism I hope to make people feel.

As of recent, I just got a new family puppy, so a lot of my time right now is spent with her!

Do you have any projects coming up that you can tell us about and what are you hoping the rest of the year brings?

I’ve done eight show weeks consistently for the past three years and, although I love it, it does take a toll. So, I’ve now taken a step back from theatre to focus on transitioning back into more commercial dance, especially while my body is still young!

I’m hoping to start working with more artists and doing more freelancing to fulfil that passion and continue to challenge and push myself. Since coming off the US tour and opening up a market for myself across the pond, I’d also love to continue opening doors for myself out there, so hopefully you’ll see me dancing for your favourite artists next!

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