From performing with Janet Jackson at the Super Bowl to choreographing Disney’s Zombies 4: Dawn of the Vampires, Draico Johnson has built a dynamic career across choreography, creative direction, acting, and storytelling. His journey is fueled by passion, resilience, and a deep love for the craft. We sat down with Draico to hear about his roots in South Carolina, his early breaks in the industry, and the creative values that continue to shape his work in film, television, and beyond.
Q: Can you share the story of how you first got into dance? What was your first spark with movement?
Draico: I’ve always had a connection to music. From the time I could remember, anytime music came on, I started moving. My mom used to say she danced and partied all nine months she was pregnant with me, and that stuck. Music was always playing in the background of my life, and it just made sense that movement came with it.
Growing up in South Carolina, I didn’t have access to performing arts schools or any real training. But I was glued to the TV. I’d watch musicals, videos, and anything that had dance in it, and I’d teach myself. I’d copy what I saw, mix it up, and perform for whoever would watch. When my younger sister entered a pageant, I choreographed her routine. That was the first time I created something original. It wasn’t just copying anymore. That was the moment I realized I could build movement, not just do it. That experience lit the fire in me.
Q: You started as a performer and now you’re a choreographer, creative director, and actor. How did that evolution take shape?
Draico: It was definitely a journey, and it started with mentors. People like Jamal Sims, who’s not just my mentor but also my best friend, saw something in me early on. He brought me into his world, put me on jobs, and taught me how to read scripts, work on sets, and see the big picture. He gave me room to grow, and that meant everything.
Working with Jamal and other mentors like Chuck Maldonado, Travis Payne and Jamie King showed me that you don’t have to stay in one box. I was already into different dance styles, and they encouraged me to explore and trust that versatility. Each job challenged me to bring something new. Whether it was a Disney film, a world tour, or a TV show, I learned how to adapt while still staying true to my voice. They helped shape the artist I am now. And honestly, I’m still evolving.
Q: You’ve worked on iconic dance films like Step Up, Haunted Mansion, and This Is It. What moments defined your early career?
Draico: There was a point when I was dancing for the same artist, performing the same song over and over. Different choreographers, same show. I started feeling like I was on repeat. I love growth and variety, and I knew I needed something more.
Then there was this award show where I got kicked out because they said my wristband was expired. It was just me, out of a group of dancers, all dressed the same. I was frustrated. But looking back, that moment shifted everything. I had already been thinking about what was next, and that push gave me the answer. I called Jamal, and he said, come assist me on these new projects. That turned into film work, creative direction, and doors opening in a way I hadn’t imagined. It was the universe saying, it’s time to move forward. I didn’t see it then, but I’m grateful now.
Q: How did you get involved with Zombies 4: Dawn of the Vampires?
Draico: It started with Zombies 3. I was home in South Carolina visiting my sister during the pandemic, and my agent called about a meeting. I had no idea what Zombies was, but when I mentioned it to my nephews, they lit up. They knew every character, every plot. They were so excited, and I thought, if this means that much to them, I need to be a part of it. That gave me the push. I did the meeting, got the job, and promised my nephews they’d be my dates to the premiere. And they were. We shot Zombies 3 in Canada, and then when Zombies 4 came around, we filmed in New Zealand. That was a dream. New dancers, amazing crew, and this new world of Daywalkers and Vampires. It felt like something really fresh. There was so much heart in that project. I love that it was a musical for kids, but the message reached across all ages. And filming it in such a beautiful place made it even more special.
Q: “The Place to Be” in Zombies 4 is such a big moment. What was your vision for that number?
Draico: This number had to introduce the Daywalkers and the Vampires. Two totally new entities, different vibes, different strengths. I wanted to make sure each group had its own movement language. Kind of like how different cities dance. New York is different from Chicago, Atlanta is different from LA, but we all understand the rhythm. That’s what I wanted to tap into.
The composers gave me an incredible song to work with. The beat, the energy, the lyrics, it all spoke to me. I always say I do what the music tells me. I don’t go in with too much pre-planning. I listen, feel, and let the story come out of that.
I also had to make sure the choreography allowed for connection. These characters are different, but there’s overlap, and the dancing helps show that. By the end, you’re seeing how these two worlds start to blend, and that’s what makes the number so satisfying.
Q: Your SneakerBall prom choreography in Forever on Netflix is another standout. What inspired that?
Draico: My friend Anthony Hemingway brought me on. He said, this prom scene is yours, and I was excited from the jump. It was an LA sneaker ball, so the movement had to feel like LA. If it had been Chicago or Atlanta, the vibe would’ve been totally different.
We shot it at the Santa Monica Pier, so it was very true to the city. I pulled in dancers who understood the LA groove, and that helped keep it authentic. But what made it extra special was the cast. One of the actors told me he never got to go to his prom, so this scene felt like his real one. That hit me. I wanted to make it feel like a celebration, not just choreography. I set the movement in a way that it felt organic and cinematic. The actors had fun, the dancers brought the energy, and it all came together naturally. I’m really proud of that scene.
Q: Were there any major turning points in your career?
Draico: Absolutely. Booking the Super Bowl with Janet Jackson was huge. I looked up to her for so long, and being on that stage made me feel like anything was possible.
When I booked my first acting role on The Wire, it was surreal. That was my favorite show at the time, and to suddenly be on it was one of those full-circle moments. It reminded me that I didn’t have to stay in one box. I could be a dancer, a choreographer, an actor, a creator.
There have been multiple turning points, and each one gave me confidence to keep going, even when I wasn’t sure how it would all play out. I’ve learned that if you show up with good energy and do the work, the right doors open.
Q: You’ve worked with countless dancers, actors, and students. What have you learned from those collaborations?
Draico: That you never know what someone is going through. Life hits people in different ways, and they bring that with them when they show up to set or rehearsal. My mom always told me, just be yourself and treat people with love. That stuck with me. When someone enters my space, I want them to feel seen and supported. Whether it’s their first job or their hundredth, they’re here because they have something to offer. I’ve learned to take people as they are and allow them to show up fully without judgment. Energy spreads. If I show up positive, that trickles down to the dancers, the crew, the cast. And when everyone’s feeling good, the work shows it.
Q: What advice would you give to someone wanting to be a choreographer in the film industry?
Draico: Stay true to who you are. Push the envelope. Be open-minded to different walks of life, different styles, cultures, and ways of moving. Every script, every artist is different, and if you’re grounded in who you are, you’ll be able to adjust and create something real.
Don’t compare yourself to others. A lot of people are doing similar things, but in different ways. Some get there faster. Some take shortcuts. But your path is your path. Don’t force it.
Jenifer Lewis said it best. The elevator to success is broken. You gotta take the stairs. It may take longer, but it’s worth it. Just keep climbing, and stay ready for your moment.
Q: When you step into the role of creative director, where do you start?
Draico: I start with the artist. I want to know who they are, where they come from, and where they’re trying to go next. Once I understand that, I listen to the music. That tells me everything. The sound, the tone, the rhythm, it starts to build the world.
From there, I create concepts, mood boards, fashion looks, movement ideas, visuals, anything I can use to show the vision. Sometimes words aren’t enough, so I make it as clear as possible.
Creative direction is about collaboration. You’re helping bring their vision to life. And if something doesn’t work, adjust it. Don’t fall in love with what it was. There’s always a way to reshape and refine until it feels right.
Q: What’s next for you? Any dream projects or new things you’re exploring?
Draico: I’m developing a couple of projects, including a TV show and a film that I’ve been writing and building. I’m excited to share more when the time comes.
And Jamal and I are launching a podcast. We’ve worked together for years and have so many stories. It just made sense to create a space where we could talk about everything we’ve experienced, share what we’ve learned, and laugh about it too. We’ve already filmed some episodes, and we’re excited to bring people into our world in a new way.
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