Ryan Heffington has been described as the "sweaty love child of Freddy Mercury and Martha Graham." I completely agree; if those two had made babies, their kiddies would probably have the charisma, organic talent, and out-of-control precision Heffington exudes while performing just about any activity. The man commands attention when he’s grilling vegetables, let alone when he’s performing "Dirty Diana" in a packed nightclub. A born superstar dancer, performer, designer, and choreographer, Heffington’s ferocious, uncompromising energy lights up -- think psychedelic high -- before loosening up the world one stage, club, or impromptu street performance at a time. From his arrival in the City of Angels his determination was to simply be himself. Only he is someone, probably the only one, who’s as comfortable in a leopard leotard as he is in a vibrant Rastafarian getup or just some casual low pumps and jeans. Put mildly, he’s like no other.

Heffington's own curious self-exploration is producing a change and a challenge to the world of dance. This ain’t no stiff highbrow art, and it ain’t no bubble gum pop art dance show either. This is a guerilla in-your-face dance visual extravaganza without limits that’ll leave you wanting more, being more, and expanding your own individual possibilities. As many have said before me and will continue to proclaim after me, thank you Sir Heffington for you being you.

What was the first song you choreographed a dance to, and how old were you? The Pointer Sisters’ "Neutron Dance." I was in 5th or 6th grade and we were going off to camp for a week. They had a talent show there. So I gathered some hot chicks and choreographed this high energy techno disco dance. It was so natural for me. I remember working on the dance during recess and being very serious. I would tell my girls, "We are in rehearsal. I don’t care if you want to play. You’ve gotta dance."

Very serious indeed. I’ll bet you had costumes ... Of course. They were typical 80s paint-splatter pieces.

Did you make them? No, I don’t think so. But I did style them of course. Control, control, control!

What specifically prompted you to relocate away from the theater for "Sex on a String"? Around ’95 Bubba Carr and I were doing this thing called "Psycho Dance Show," which is an in-club performance. It was really exciting to me that we could access a different audience. It seemed at that point totally appropriate because what we were doing wouldn’t necessarily fit into a theater setting. It was all very avant garde, very punk rock. We threw shit at the audience -- food, liquid. We had guys playing girls getting sex changes to become men.

Sounds like your average night at the theater. Yeah just your typical theater. It was a party. It was rock and roll. I’ve always been interested in mixing the world of rock and roll with dance and introducing dance to new audiences.

You’ve also always been the instigator deflowering people with the world of dance. "Fingered" took my dance virginity. "Fingered" was my last big club. We sold out 300 people every month. We did half hour contemporary dance concert in the middle of this club, and the respect that it was given was incredible -- especially being at a club. Everyone was silent, sat down, and stopped partying like mad dogs. It was a true dance party. People wanted to see dance, were inspired by dance, and wanted to dance.

I loved it that the night would begin with a dance lesson for us. Teaching a class and having a performance in a place where people wouldn’t typically expect would bring people really close to dance. After a performance, people would come up to me and say, "I’ve never seen dance live before." I thought what a shame. Teaching people and having it be in an environment where they’re more comfortable and can have a couple of drinks and chill out. It was a great transition for them to become part of the dance community.

How do you view dance as an art medium? How has it changed throughout the years? I think being in Los Angeles, there’s a diverse ground for dance. I came here to be a commercial dancer. I wanted to be on TV and in videos. I didn’t know about dance companies. I came here to do the commercial dance thing because that’s what I had been exposed to. I think because I came from such a small-town, suppressed environment.

It’s hard to imagine you in a small town. I know. I had so many people directing what I was doing there. Can’t grow your hair out. Can’t do this. It was all very controlled. When I moved to LA it was my time to be who I was. I came to do this commercial work, but I wanted to grow my hair out, I wanted to grow my facial hair out, I wanted to wear skirts. So I landed in this world of being individual in this commercial world. It was a little bit of a mindfuck, but I stayed true. I stuck my feet down and was who I was, and that was the when dance started to change for me. It began this ground of exploration. All the sudden I had no rules and it was really fucking exciting.

Where are you leading the world of dance to next? I’m working on a play, "The Stronger" -- a non-traditional theatrical work with Terence McFarland. He’s a student of mine at Sweaty Sundays and quite the genius. It’s part of a three-week workshop forum at UCLA called "Hot House." The last day, we informally present the work in progress to the other groups involved in the workshop. The collaborators of Site Unseen are preparing for our next piece. Currently we're sniffing out the perfect unrealized dance space and brewing over concepts.

Aren’t you behind "Dance Attack" too? I do it all girl. I wanted my dancers in Sweaty Sundays to not only participate in a class but also be performers too. I keep it fun, get people together and rehearse these routines and then go out on the street and perform. The energy is amazing. People running down the street and dancing. People become performers. I bet it comes to them later, and they’ll think, "I’m a dancer. Oh wait, I’m a performer too." I bet their feathers get puffed and they get excited about it. It’s really fucking cool. I thought it was important for them to have their own stage.

What’s your favorite place to do some retail therapy? By far the Good Will. The motherfucker Hood Will. It’s my Barney’s.