Stage and Cinema film and theatre reviews
 

A NEW KIND OF MUSE

  

picture - Davon RaineyTheater Interview

by William Gooch

published June 5, 2009

 

An interview with Davon Rainey

of Le Serpent Rouge!

playing at Company XIV

through June 6

 

At first glance Davon Rainey is a mystery. His well-stretched feet and etched, turned-out thigh muscles bear witness to the impeccable classical training Rainey received in some of the country’s most elite dance academies. One would expect to find a dancer of Rainey’s pedigree honing his skills in more established ballet companies. Yet, he has chosen to develop and play muse to Company XIV’s artistic director, Austin McCormick. After recently watching Rainey as the drag queen/serpent in Le Serpent Rouge!, I can testify that he has made a wise choice.

 

A couple of days after his performance, Davon Rainey took out a little time to talk to me about his passion, Company XIV, and anything and everything in between.

 

 

What is your background?

 

Davon Rainey: I was born and raised in Memphis, Tennessee by a single mom. I started tap dancing when I was six years old.  Later I studied African and jazz dance. I went to an arts magnet junior high school and then I went off to study classical ballet at Interlochen Arts Academy in Michigan for high school.

 

Michigan is a long ways from Memphis, Tennessee. Why did you choose to study at Interlochen?

 

Davon Rainey: My ballet teacher in Memphis attended there and thought that Interlochen was a great choice to continue my training.

 

Interlochen Arts Academy is known for its classical ballet training. Yet, after graduation you chose to study at the Julliard School instead of a strictly professional ballet school like SAB or the San Francisco Ballet School. Why Julliard?

 

Davon Rainey: My roommate at Interlochen told me that Julliard was auditioning for its freshmen class. At the time, I knew nothing about Julliard, but because the audition was in NYC, I went along without really knowing a whole lot about the school. I was just excited about a trip to NYC. [Laughter]  Anyway, I auditioned and got accepted into the program. In retrospect, I think I looked at it as an excuse to live in NYC.

 

picture - Davon RaineyHow did you get into Company XIV?

 

Davon Rainey: Austin and I studied together at Julliard and I was also in one of the pieces he choreographed at Julliard. After Julliard, I was performing with Jacquelyn Buglisi and Donelan Foreman’s company and some freelancing with some other small dance companies, Austin contacted me about being in a dance film that he was making. A piece by Austin that I had seen at Julliard was going to be part of the film and I really wanted to be in that ballet.

 

I was amazed that someone as young as Austin was so ambitious and was trying to do so many different and amazing things. He also intimated that he wanted to start his own dance company. At the time, I think Austin was about 21 years old. Anyway, we later shot the film and then when Austin formed his company, he asked me to be a member.

 

In the two pieces I have seen you perform with Company XIV, you have performed gender-bending roles. How did you come to do these roles and is there special preparation for these types of roles?

 

Davon Rainey: How I prepare for these types of roles is not to get too muscular. I can muscle up very easily. As for my current role in Le Serpent Rouge!, I am downstage a lot for my drag queen numbers.

 

So, you consider your character a drag queen, not a gender illusionist?

 

Davon Rainey: Yes, I do portray my character as a drag queen or a boy dressing as a woman. I am doing drag queen, gender-bending, not a man who can easily pass as a woman. In fact, I don’t shave my legs for this role to give more of an effect of gender-bending.  In this role, you see a man who is assuming feminine postures.

 

This character has to perform numbers by Peggy Lee and Eartha Kitt. I knew that for each song, I had to prepare a very different interpretation, because Eartha and Peggy were so different as entertainers. I listened to their music a lot. I try to understand what my character is saying juxtaposed against what Peggy and Eartha are singing. Also, the day of a performance I try to watch videotapes of different female archetypes like Madonna or Tina Turner, which helps get me into a feminine way of moving and acting.

 

Had you performed works in which you were corseted before you joined Company XIV, and what were the adjustments you had make with your technique or performing?

 

Davon Rainey: Well, it feels like a second skin now, but at first it was very difficult to move and breathe. Bending over was particularly a challenge. Because people are not used to seeing dancers in corsets, audiences actually pay more attention to the movement of the torso. It also gets their attention away from legs and feet. Now, I can a wear a corset any time.  [Lots of Laughter]

 

How do you channel Eartha Kitt and Peggy Lee so well?

 

Davon Rainey: When I think of Eartha Kitt, I think of being like a firecracker, an overly sexual cartoon character. Her voice is gravely but sweet at the same time. She had such a powerful essence. I also draw from my family members who grew up watching Eartha Kitt and I channel their experience of being fans of her into my portrayal.

 

For me, Peggy Lee’s songs are very melancholy and sad, but hopeful. And I try to channel those emotions.

 

picture - Davon RaineyHave you performed non-gender-bending roles with Company XIV?

 

Davon Rainey: Yes, recently I performed a man in a dance piece by Austin called Delusions of Grandeur, based on a poem by Charles Bukowski. It originally started out as a solo but later morphed into a love triangle.

 

There is currently a lack of black dancers in American mainstream companies. In Company XIV you are given a range of roles to perform. What is your opinion on this lack of African American dancers and the opportunities afforded you at Company XIV?

 

Davon Rainey: I am so grateful for the opportunities at Company XIV. I know that when people come to see our work, it’s obvious that I am the only black dancer in the group. I don’t see myself as the only African American dancer but as another performer. However, when I see large ballet companies and there are so few or no black dancers, it does concern me. I mean the ballet world seems exclusive and dated when it doesn’t reflect the rest of the country. I think young people are turned off when they don’t see themselves reflected on stage or something they can relate to. That is one of the reasons I am so happy to be in Company XIV, a company that is doing fresh, exciting work that is inclusive.

 

Where would you like to go next in your career?

 

Davon Rainey: I am very open to new performing opportunities and experiences. I would love to be able to get more audiences to the type of dance theatre we are doing at Company XIV. I just want to keep on performing.

 

williamgooch @ stageandcinema.com

 

all photos are by Michael Hart

 

read William Gooch’s review of Le Serpent Rouge!

 

 
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