MJ The Jamaal Fields-Green Music on the legacy of Michael Jackson

The way in which Jamal Fields-Jerin tells his journey until Michael Jackson was not completely fate-it was a coincidence.

In March 2022, the performer was sitting at the Broadway Theater, watching “MJ The Musical” during the break, when he examined his e -mail. There, glowing on his phone screen, it was a notice of future alternatives in the role of MJ. “I was watching the exhibition literally in Broadway when I received the email,” Fields-Jerin recall. “It was crazy.”

The moment of this cosmic time led Fields-Jereen to make the history of the theater is the only performer that depicts Michael Jackson in all the three main production of the prize-winning Tony Toni Music: Broadway, the US National Tour, and now in London West End, where he took the lead in Prince Edward theater in January.

For Fields-Green, the MJ’s Legacy is in three stages not just another day in the office-it is a depth responsibility. “MJ is one of, if not the greatest time at all,” he says. “To be able to do this and take it as much as I took it, it is modest. It is also a reminder of the strength of his legacy and the extent of his pregnancy all over the world.”

The Fields-Green Road to the corridor began in an unlike “When you put us in the semester, we outperform a lot” – but their teacher saw something special in their attractiveness and suggested their testing of school play.

What started as a joke among the friends who “played all sport” became a moment that changed life. Green fields fell the role of seaweed in the “hair fixation” and discovered his call. The following year, he played the scarecrow in “The Wiz” (which the prophecy seems to be particularly as Michael Jackson played the role in the 1978 Sidney Lumet movie), the dance designer withdrew his mother aside and told her that her son had a information technology factor.

“I can do this for the rest of my life if I take it dangerous enough,” Fields-Jarre. This conversation led to the Acting Trainer, and the college tests in high schools throughout the country and at the end a place at Hartford University in Connecticut.

Files Out out College, in Fields-Green “Hamilton”, plays the role of John Laurens and Philip Hamilton in Chicago from 2018 to 2020. They were “some of the best years of my life”, where he learned about both businesses and himself as an artist and man.

When the immediate theater epidemic, Fields-Green used the time to dive into writing and guidance, leading to a long ambition. He always directed his music videos but had no time to write text programs. The forced gap has become a creative renaissance – adversity turned into an opportunity.

When the theater was reopened, I changed that fateful night in “MJ” on Broadway everything. The test that followed was strict – singing, dance four numbers and flying to Los Angeles to work with Talauega Rich and Tone, and dancers Michael Jackson who helped develop display vocabulary.

Preparation pays fruits. Fields-Green became a list of briefly prepared in Broadway, then the first alternative to the company’s history of the national tour, before taking the lead in the middle of last year and moving to London in January.

A person’s playing like iconic and discourse played like Michael Jackson comes with unique challenges that go beyond the typical personal work. “I am playing a person who walked and breathes on this land,” Fields-Jarreen explains. “A person has a legacy left behind, and their legacy in my hands throughout the show. However, it represents a great responsibility. I don’t consider it very light. But nevertheless, I have no choice but to master the MJ’s playing craft constantly.”

Physical demands alone are amazing. Jackson’s movement was so distinctive that “you can get a silhouette of the toe’s stance, or just one of its movements or movements, and you can determine it.

Fields-Green, who describes himself as a slightly larger man than MJ, had to tend to this role and completely re-train his body. He works with a coach twice a week – originally three times in New York – focusing on adapting strength and what he calls prevention of injuries to ensure peak performance night after night.

“This dance is very detailed. It is difficult. It requires a lot of design and focus,” he says. “I still train to this day.” Dancing design at the exhibition, created by Christopher Wildon, won the Tony Prize winner with the inputs of Jackson collaborators, Tony and Olivier Awards. “He talks about himself with prizes, but when you also see him, it is surprising that I say the least following,” Fields-Green notes.

Perhaps the most sophisticated aspect of Michael Jackson depicting is the budget of the highest performer with a deeply conflicting person. The musician is not ashamed of the allegations whose career remains later in Jackson, and Field-Jereen had to find ways to honor both art and complexity.

“We are a multi -dimensional human. We have all these aspects of ourselves,” explains. His search for visits has exceeded – he searched for YouTube to conduct interviews, documentaries and talks in which Jackson discussed his lack of childhood, his struggles and shortcomings.

“What I love in this show is that we are able to show a person behind the symbol,” says Fields-Jerin. “It was just benefiting from the one MJ as a human being, first and foremost, as a substitute. Show his interest in his work, about helping others and giving magic to the world.”

After this role has played three different productions, Fields-Green became an expert in how Jackson’s music exceeded the cultural borders. The differences between the American and London masses were particularly striking, but he learned to shake with them regardless of geography.

“You will not be more conservative comrades. Theater etiquette is the way I like to say. O comrades who practice the ethics of the theater unparalleled,” he noticed. But he knew that a quiet audience does not mean separation. “You may feel calm, because at the end of the show, the reactions are always the same. The audience is walking on their feet, clapping and screaming.”

Ask Fields-Green if there is a certain moment in which he feels that he really embodies Michael Jackson, and revealed his answer to the perfection line that he shares with the pop king. He says, “It is a mentality.” “My biggest thing is to make sure to be photographed as an original as possible, because I know I am not for him.”

It is quick to point out that there will be only one mj – a person describes as a foreigner when it comes to his talent, leadership, and the things he was able to achieve. But there are moments, especially during “Smooth Criminal”, where he feels that it cannot be prejudiced.

“It is like chasing the ceiling, and you can reach it, but the second you do, it raises again,” he says. “The tape and the ceiling will always continue to raise it, because it was great. But whenever you find yourself chasing and reaching it, then you constantly have to raise the tape, he was better for an artist you would become.”

Jackson’s embodiment has greatly affected Fields-Jereen creative work as a writer and director. Both men are Virgos, and Fields-Green has found kinship in Jackson’s legendary interest in detail. He says, “I was really like this, and I see that it was so that I wanted to take advantage of it more,” he says. “Implementation is very important in general, but in particular with what we do.”

Jackson’s unwillingness to settle for his artistic vision-a major aspect of “MJ The Musical”-has become a guideline principle of green fields. “Confidence in your bumps as an artist is very important,” he noticed. “The biggest ready -made meals – which is difficult for me that I still learn – is that not everyone, maybe no one, he will see your vision like you, until you show them what it is.”

While Fields-Green looks towards the future, it is ready to overcome it-or rather, to move from MJ. “This seems that this will be my last year. Fortunately, I am ready to hang aibly, if it is permissible to speak,” although it leaves the door open to a possible return to Broadway in the role below the line.

His ambitions extend through multiple means. Under his title Jay Hassan, he releases music with a novel novel in its essence, including the current EP called “What was the reason” with many music videos under development. Its production company, DayDreamer, works as a project for filmmaking and recording.

It complements a short horror movie entitled “Shadows” for the festival circle – a type exit that reflects its desire to challenge itself creatively. His previous short movie, “The Trick”, won the Best Actor at the Las Vegas Iny Film Festival, develops feature texts and hopes to start in the coming years.

The theater is still in its plans as well. “I want to do a play after that, as you know, immediately after” MJ “,” he says.

Fields-Green’s final goal exceeds any means or one role. “I just want to be a great heavy striking in this work, in this industry, and in the end I leave a heritage behind it, which will live long, long, long, after a long period of going,” he declared.