Five Questions With: Buna McCreery-Njie

Performer BUNA MCCREERY-NJIE is playing Marlon Jackson in the US national tour of MJ The Musical, having played the role in the West End production.

Following his training at the Urdang Academy (2023) and Emil Dale Academy (2020), Buna went on to be a swing and John Laurens/Philip Hamilton understudy in Hamilton (original UK and Ireland tour). Other theatre credits include Kansas in Gypsy (The Mill at Sonning), Impact Dance 25+1 Anniversary Show (Peacock Theatre), Voices of Today and Tomorrow (Union Theatre), Younger Aaron in Unknown Soldier (Above the Stag) and, as choreographer, West End Does Christmas (Cadogan Hall),

Film and television appearances include Strictly Come Dancing: Musicals Week, Hamilton (BBC), Blue Light (BBC NI) and The Witcher: Blood Origin (Netflix).

Here Buna McCreery-Njie continues Musical Theatre Review’s interview series: Five Questions With…

What did it mean to you personally and professionally to transfer from the West End production to the US national tour of MJ the Musical, and what have been the biggest differences between performing in London and touring across America? 

It’s been such a pivotal moment for me in both aspects. Professionally I’d dreamt of working in America since I was young and had spent the latter part of 2025 planning how I could make that happen, so when this opportunity came about to do just that, in a show and role I love, I couldn’t pass it up.

Personally, its almost incomprehensible. I grew up in a single parent family in a small town in Hertfordshire, dancing to MJ growing up and watching Broadway shows at the Tony Awards on YouTube, so if you’d told little me I would be in a touring Broadway show, my mind would have been blown!

Now, at 23, it feels so divine, like an amalgamation of hard work, alignment and manifestation paying off. Not a day goes by when I don’t feel truly blessed and honoured to be doing what I love every day for work.

London and American theatre culture is more contrasting than you’d think. I think the biggest difference is the audiences, the houses are huge,  jokes land differently even state by state and Americans are vocal! You’ll know whether they’re enjoying every moment, whereas UK audiences are reserved and tend to hold back until the end of the show.

The show itself has a fair few stylistic changes as well as different choreography and staging for the touring version. Lastly, its run differently: there’s no warm-up, lots of job roles are divided differently, etiquette is different and covering works a little differently. It definitely took a second to adjust to it all, but thankfully I had the most welcoming company that helped me navigate it all.

The creative team obviously has great trust in your work. What qualities do you think helped you earn that opportunity, and what have you learned from the experience so far? 

I remember I had a mentor when I was younger tell me that no matter what direction my career takes me to always remain kind, humble and be myself authentically. I still strive to be nothing but that, so I really think that’s what’s carried me through all of these years as respect is earned, reputation means something and no one wants to work with unkind people.

Ultimately, I’ll never know exactly what earned me the position, but I believe showing up, doing whatever your ‘best’ looks like that day and being consistent in your work is what’s gotten me here. I also put in a lot of homework during the rehearsal process so that once I begin a show I have the freedom to play and explore instead of  worrying about steps or lines. That’s enabled me to consistently give the team my best work.

I’ve learned so much. London really trained me for a weekly eight-show schedule in a heavy dance track and helped me to understand my body and its limits. The tour taught me to forever remain a clean slate and a sponge, as even after doing a show 300 times there’s always more to learn, and habits built over time to iron out. Also, to be adaptable and proactive, and to look after my body equally to my mind and my soul.

This show demands almost every aspect of me: truly peak physical, vocal and mental health. I feel sometimes people forget how much the mental bleeds into the other two if not given equal attention, so consistency is so important to foster longevity. I like to journal, meditate, spend additional time warming up and listen to how my body feels that day. My game changer, which is new for me, is cooling down daily. It’s become essential when navigating new climates, show schedules and everything that touring brings.

You’ve performed in some of the industry’s most demanding productions, including Hamilton and MJ the Musical. How have those experiences shaped you as a performer? 

Oh boy, they’ve made me incredibly resilient for a start. I was a swing and cover in Hamilton, so that challenged every part of me mentally and required so much attention to detail as the show is so complex and things changed and grew over time, even every venue. Additionally, it taught me a lot about letting go of perfectionism, as it isn’t always possible to perform faultlessly when juggling seven tracks.

In MJ, I was jumping from a tour dancer, to the Jackson Five, to a Nicholas brother, even to a zombie and more, so physically it was insanely demanding. Thus, it taught me how to maintain high quality performance, how to sustain eight show weeks and work through injuries, illness and everything in-between. Marlon Jackson also taught me how to make a character my own and explore ways to challenge my artistry when repetitively doing the same piece over long periods.

Overall, they’ve taught me a lot about telling a story through movement, as they’re both so rich in content, which I think is my responsibility as an ensemble member: to convey or emphasise what words can’t. Both shows are huge, already established and well-oiled machines, so come with pressure to deliver, so it’s been fulfilling to face up to the challenge of living up to that – it makes you a better artist.

Your training took you through both Emil Dale Academy and Urdang Academy before you entered the profession. How did that training prepare you for working at an international level in productions of this scale? 

For me, it was fundamental in refining and polishing myself into the artist I am today. Emil Dale threw me into the deep end at 16 as to what it takes to be a performer, which is really being an athlete. They also were amazing at introducing us to so many inspiring industry professionals, many of which I would go on to work with.

I always say that Emil Dale taught me how to get the most out of drama school, so it really made me follow that example with Urdang. They gave me so many opportunities to train with amazing students and faculty, choreograph, allow me an insight into the industry and work while in training. They are committed to adapting to what the industry require of us and update the curriculum in real time. I feel that created so many successful students.

I was incredibly determined to make something of my family’s sacrifice and financial investment to get me there, so I knew had to go above and beyond to get here. At one point I was working four jobs at once so I was able to take additional classes outside of college, see shows and invest in making myself as versatile as I could.

Training at these places showed me what was possible if I was willing to put in the time and effort. By doing all of this it allowed me to have many tools in my kit by the time I graduated and, above all, helped me to not feel as out of my depth stepping into productions of this scale.

Don’t get me wrong, turning 21 in your first week of Hamilton rehearsals can be a little daunting, as there is only so much you can learn during training, but the training was essential in setting me up for these opportunities.

For young performers hoping to build an international career, what advice would you give about developing the skills, professionalism and mindset needed to work across different countries and productions?

I would say try to be open to everything and jump into the deep end when it comes to your weaknesses. Longevity and versatility come hand in hand so the more you endeavour to do a bit of everything, the less limitations you put on yourself, and the more fulfilling a career you’ll have.

Prepare yourself for a lot of hard work, sacrifice and hurdles. It has taken over a decade of work to get to where I am, and it has been even more challenging as a Black, queer artist. So my advice would be to not expect success to happen overnight – enjoy the journey.

Observe and be inquisitive of your peers. For me, a good 70% of becoming a professional came once I got in the workspace, from learning and picking the brains of the established artists around me. I tend to feel like a chameleon a lot as I enjoy jumping into contrasting spaces, adapting, being open to learning and just giving it a go, so I encourage you to do the same.

Finally, everything in my life so far has happened earlier than I expected, so remain open to miracles, to actually achieving your dreams. Don’t get complacent, and remain kind and true to yourself. I spent a lot of my childhood thinking I was behind my peers, but you will have their own path full of magical things if you’re willing to put in the work to reach your potential. So if you really want it, keep going!