Tre’ Horton has been a Jackson 5 fan his whole life; and now, thanks to portraying Michael Jackson’s older brother Marlon in Antoine Fuqua’s biopic “Michael” (out April 24), he’s become part of the group’s ongoing legacy. A musical theater performer who’s appeared in a handful of dramatic shorts, including the vertical short “My Enemy Alpha,” Horton is making his film debut—in a major studio feature no less—in “Michael,” with Jaafar Jackson as Michael Jackson, Colman Domingo as Joe Jackson, and Nia Long as Katherine Jackson. It’s a massive first (dance) step onto the big screen. We sat down with Horton to talk about getting cast, embodying Marlon, and what it’s like acting alongside a star ensemble
How did you get cast as Marlon?
I got an email request to audition for one of the Jackson brothers—the usual routine, putting yourself on tape. There was a scene where I had to sing a song and do a dance. I looked at it and was like, “There’s no way. This is too big. There’s no way I’m going to get this.” But I still gave it my all, because I really wanted it and wanted to be a part of it in any kind of way. Then I sent it in, got a callback, went through that process, did two in-person callbacks, a dance callback, and then a screen test. And after that, I booked it. It was my first time going through all of that.
What was your audition self-tape like?
The brief said to choose a song—something from Motown or R&B that you could dance to. Luckily, I had already auditioned for something in the realm of a ’70s disco dance movie, so I already had that in my pocket. I used the same song and changed the dance moves a little to make them more appropriate for the Jacksons. And it said not to dress up—no glasses, no hats. But I like to do a little subtlety in my auditions, especially for period pieces. I try not to go too costumey, just do a little hint of the era. Kind of a subtle way of saying that I fit the part.
What was your background before this role?
I have a foundation in musical theater; I’ve been doing it since I was about nine years old. Musical theater incorporates singing, dancing, and acting, so I’ve always been around some type of movement. But I’ve never trained as an actual dancer. When I booked the role, I hadn’t really focused on dance since high school—that was maybe six years prior. I had to really reawaken the dance that was already in me to get right.
How did you approach getting into your character?
Honestly, just studying. I grew up watching Michael and the Jacksons. Booking this was very full circle for me. But actually having to step into the shoes of another person… I was watching everything like I’d never seen it before, looking at it through an actor’s eye, because there’s no room to mess up here. There’s only room to give 110%.
You can learn how to dance, but it’s the way you do it—every dancer knows that. It’s a feeling. So it’s not just, “OK, I’ve got the choreography down.” It’s, “How does Marlon do it?”
Also, really studying the dynamic between the brothers and knowing things that aren’t necessarily in the script. I think that’s the most important part—and asking a lot of questions. Luckily, we had Prince and Jaafar [Michael’s son and nephew, respectively], and I was just asking so many questions about their relationship and how I could convey that emotionally, whether that was onstage or in a home scene.
Jaafar Jackson as Michael Jackson in “Michael.” Credit Glen Wilson/Lionsgate
What was it like working with the film’s veteran actors, like Colman Domingo and Nia Long?
[I was] very nervous! [Laughs] But as soon as we got on set, it was just time to work. They were very personable. A lot of us brothers were very new, this being our first [major] project, and they worked with us personally to make sure things were going successfully. It just made the whole set feel like we’re all in this together, doing great work.
Was there a scene that was especially challenging to film?
Definitely the performance scenes—not only picking up the choreography and doing it right but also maintaining the emotional state the characters are in at that moment in the story. It’s a movie, so there’s a storyline running through the performances, and making sure I’m in that right mindset while also delivering a great performance was the most challenging.
If you could take one item from Marlon’s wardrobe in the film, what would it be?
If I had to choose one item, I would say the big wrestling belt [an homage to the group’s iconic stage costumes]. It’s gold and red, and even though it was the most uncomfortable thing to dance in, putting it on just made me feel powerful. It made me feel like Marlon onstage, and that was a great feeling.
Did you get advice from anyone working on the film?
One piece of advice I got was from Antoine, and I think a lot of actors transitioning from musical theater know this: Film is different. You don’t have to be huge. The camera picks up those small moments that onstage you have to amplify. Film is about what’s happening internally, making sure you’re thinking it, and the camera will do the rest.
What advice would you offer to aspiring actors?
Just keep going. I know it’s a very long process and it’s never overnight. But continue. Have a community of people who love what you do, grow together, and the sky’s the limit. I know it sounds cliche, but there’s no other way to put it.
You have those days as a creative where it feels like talking to a blank wall. A lot of times you don’t get the feedback or the pat on the back. But if you just continue to grow and keep going, you’ll look back and know it was worth it.
