In contemplating Colman Domingo’s career, one cannot help but be struck by his unwavering commitment to artistic integrity and fearlessness in portraying complex characters that challenge societal norms and expectations. Born and raised in Philadelphia, Colman’s journey from humble beginnings to the pinnacle of Hollywood success is a testament to the power of perseverance and the transformative potential of art.
This year, Colman Domingo and several friends visited Atlanta. Their purpose was to attend Essence Fest, one of the world’s grandest celebrations honoring Black culture. Given this, it wasn’t unexpected that the actor from “Zola”, “The Color Purple”, “Rustin” was constantly surrounded by fans throughout their stay in Atlanta over the weekend.
Even so, Domingo’s group was taken aback as they observed the specific heads turning towards him. “In many aspects, I had become a popular figure among Black women,” he admits with evident pleasure, not trying to conceal it. “They were embracing and kissing me, and some even whispered, ‘I know you don’t prefer us, but I have a crush on you.’
He’s expressing his perspective: “I was suggesting, ‘You can continue to find me attractive! I want you to still think I’m appealing and seductive, and I’ll be playful with you as well. There’s no need for restrictions.’ This is because I’ve never set boundaries for myself. I’ve often daydreamed about having multiple relationships, families, and various life experiences.
That imagination has guided Domingo through a wide-ranging career that began in the theater more than 30 years ago. Then, in 2015, he made his on-screen breakout playing Victor Strand, a villainous con artist who eventually seeks redemption in AMC’s “Fear the Walking Dead.” By the time the show concluded in 2023, he was everywhere. “Euphoria,” for example, won him an Emmy for offering tough love to Zendaya’s Rue as sobriety sponsor and recovering addict Ali. And just last year, he became only the second openly gay actor after Ian McKellen to earn an Oscar nomination for playing a gay character, this time in “Rustin,” which he led as the titular Civil Rights activist.
In his latest role, Domingo delivers a deeply personal and significant performance that sets a new standard for him. This can be seen in “Sing Sing,” a film released by A24 in July, where he plays a playwright who is wrongfully convicted of murder and imprisoned. Among the cast, Domingo stands out as one of only three professional actors; the others have real-life experiences with the prison the movie is named after. Once again, Domingo has found himself among the frontrunners for awards. If he manages to capture voters’ affections in January, he will make history by becoming the first openly gay actor (followed closely by Denzel Washington as the second Black actor) to receive Oscar nominations in consecutive years. However, this is only the beginning of his journey.
Domingo enthusiastically shares his forthcoming endeavors during our breakfast conversation on a luxurious rooftop club in Los Angeles. His plans include a debut comedy series lasting half an hour, directing two films – one being a Nat King Cole biopic where he’ll also act, and another focusing on the romantic tale between Kim Novak and Sammy Davis Jr. He even mentions the possibility of more “Euphoria” seasons. As I listen, I confess that it’s becoming challenging to keep up with all his projects.
Indeed,” Domingo responds, almost fluttering his eyelashes, showing no shame in asking for clarification about my compliment. So I provide the explanation, causing him to emit a similar playful chuckle as he shared his influence over Atlanta’s straight women. As Domingo visualizes the numerous wives he could have married at Essence Fest, it’s not just their attraction that excites him; it’s the mystery of them never truly knowing him. And neither will I. Not deeply.
That air of mystery began with a few lies on his résumé.
Indeed, he tends to present things from a different angle. “My career started with a certain truth,” he states, but a hint of playfulness flashes across his smile as he embarks on his storytelling.
He shared with me his experience of meeting a remarkable lady who provided career advice for aspiring theater professionals. This encounter took place in the ’90s, shortly after he moved to San Francisco from Philadelphia. He remembers seeing an ad for her services in a magazine. ‘I imagine she wore a Chanel jacket and stylish earrings,’ he recalled. ‘She was impeccably dressed, had short hair styled in a bob cut, and was Caucasian.’
On the spur of the moment, Domingo pauses, clapping his hands once. “I’m recalling it all now!” he exclaims, visibly thrilled, and I can hardly fathom it. His narrative flow is so polished, as if each scene was penned beforehand, but there’s more to it – a dance: a gesture tracing his jaw to depict her glance, a straightening of his back to adopt her tone. Yet, this dramatic flair isn’t new; it pervades the two hours I spend with Domingo. Indeed, he is a master storyteller.
He goes on to say that she initially inquired about his past work experience, but he admitted he hadn’t any. However, she then probed about his passion for the field, and he assured her it was abundant. Later, she shared insights on the pathway towards becoming a professional in the industry.
I remember a lady once advised me, ‘As a young man, always wear a watch to show you value time.’ Sitting here now, I can’t help but glance down at my sleek black TAG Heuer, a reminder of that piece of wisdom.
The lady suggested that one should dress subtly versatile, allowing others to perceive you as adaptable in any role,” she went on. At this point in his career, Domingo is widely recognized as a fashion trendsetter. Today, he’s wearing an all-black ensemble, with a silver Prada logo conspicuously displayed on his left chest.
She advised him to enroll in a public speaking course to improve his dialect since she noticed he used quite a bit of Philadelphia regional jargon, such as “jawn”. He struggles to recall when he last resorted to using “jawn” instead of “thing”, as quoted by him.
To put it in my own words as a cinema enthusiast, Domingo’s speech style is unmistakably his own trademark as an actor. Each consonant he utters is precise and every vowel he sings seems to be handpicked, giving each word a deliberate, considered feel. There’s a touch of humor and whimsy in the timbre of his voice, particularly in the way his pitch fluctuates, but overall, it feels devoid of any specific locale.
Later, she assisted me in enhancing my resume, and some concepts I learned in class were exaggerated slightly, bordering on fabrication,” he admits, flashing a smile. Scenes from Temple University lectures blossomed into elaborate stage plays at local theaters. As a result, a Philadelphia dropout, fresh out of college, found himself making his debut as a rising star in the Bay Area theater community.
On the contrary, Domingo hadn’t initially planned on pursuing acting. Instead, at Temple University, he initially focused on journalism studies. His ambition was to venture into war-stricken regions, meet people, and share their narratives. “I yearned to go to these conflict zones and connect with individuals, tell their stories,” Domingo explained. “That was my goal. However, I found myself teetering on the brink of failing this specific class.” Week after week, a journalism professor marked his reports as “too imaginative,” a criticism he struggled to comprehend or address.
Domingo replied, ‘She thought my writing was too ornate, but I’m not sure what that term implies.’ He took a bite of his gluten-free toast at this point, the only instance in two hours where he spoke with food in his mouth. It might be a subtle jab at his teacher, as if to say, ‘Flowers? Really?’ He didn’t bother to look it up then and still isn’t sure what it means.
On Sundays, it appears as though Domingo realizes he’s become overly preoccupied with something insignificant, for at that moment, his forehead relaxes and he erupts in laughter. “I was simply so vexed,” he admits. “It’s like, ‘Apparently, I’m not getting this correct.’
On Dominigo’s suggestion, his mother, Edith Bowles, motivated him to enroll in an acting class as an option, and when that initial drama teacher hinted at a possible stage future for him, it was Edith who advised him to leave school. “She told me, ‘Take some time off. Gather your thoughts,'” Dominigo remembers. Consequently, he relocated to San Francisco, living as the fourth roommate in a small studio apartment.
Not long after, Sean San Jose encountered a man who would eventually be his dearest friend. At that time, Sean was simply another youngster on the hunt for employment; however, he is now Domingo’s acting partner in “Sing Sing” and holds the executive creative position at Edith Productions, a company launched by Domingo in 2020, named after his late mother who passed away in 2006.
Reflecting on the initial encounter, which took place during an audition, San Jose chuckles and recounts, “Colman had a quirky little backpack with him, wearing shorts and exuding an adorable, kind, almost mother-loving vibe from Philadelphia. We hit it off immediately.
It’s clear that there was a youthful charm they both shared, which they picked up on from the start. As San Jose puts it, “Both of us were raised with tender love from our mothers, perhaps too gentle to fit the mold of heroes, tough guys, or leading men.
But Domingo is a leading man now, and still just as “soft” as he was in San Francisco. In “Sing Sing,” Domingo plays John “Divine G” Whitfield, one of the founding members of an in-prison theater program called Rehabilitation Through the Arts. Based on a 2005 Esquire article, the film follows the men of RTA as they produce an original play with Divine G as their de facto leader. In between the moments he spends teaching the group about Shakespeare and Stanislavski , Divine G tries to keep his peers out of trouble and tirelessly prepares for his own upcoming parole hearing. But this isn’t, to Domingo, “a prison film in any way.”
Rather than creating a typical prison drama like “Shawshank Redemption” or “Cool Hand Luke”, it’s a heartfelt depiction focusing on the bond of male friendship. As he explains, “I didn’t aim to produce something that fits into those categories. The setting is a prison, but the story revolves around the individuals within. It’s about them finding ways to create and grow amidst their lives.
At the core of “Sing Sing” lies a heartwarming platonic bond that develops between Divine G and Clarence “Divine Eye” Maclin. As described by director and co-writer Greg Kwedar, Divine Eye is similar to the kind of friend who brings out aspects of Divine G that they didn’t realize needed affection.
Their mutual affection began before the cameras started rolling. For the first time, Domingo encountered Maclin, who portrays himself in “Sing Sing,” during a script review with Kwedar. It was then that Maclin informed Domingo about their on-screen characters’ shared moniker: the “Divines.” They were a kind of prison brotherhood, and accepting this title meant adhering to a specific set of rules or conduct.
In the course of their discussion, Domingo violated a significant tenet of their brotherhood by using inappropriate language. He attempted to justify it by saying, “I was just being casual: ‘friend,’ this, that, blah-blah.'” However, Maclin gently corrected him. “We don’t use derogatory terms such as ‘friend.’ Instead, when you are a Divine figure, refer to people as ‘beloved’,” he explained.
Domingo makes the sound of a bomb going off. “My head exploded,” he says.
According to Kwedar, “Colman suddenly started crying and then told him, ‘That needs to be in the movie.'” Indeed, it was: At the height of Divine G’s emotional turmoil, it was Divine Eye’s affectionate term for him as “beloved” that revived him.
Two years on, Domingo continues to cherish his role as Divine G in “Sing Sing.” It’s this heartfelt affection that gives his performance an enduring impact. Unlike his past roles filled with dramatic monologues and grand physicality, here, Domingo delivers a subtle nuance seldom seen. This understated quality is a testament to the close bonds he forged with Maclin and other cast members who have experienced incarceration, which undoubtedly contributed to this authentic portrayal.
In the movie as well as in their personal lives prior to it, Domingo’s co-stars employed acting as a means of healing from the traumatic prison experiences they shared. During rehearsals, they were expected to come with authenticity. As Domingo puts it, “They were creating a safe space to be vulnerable, and they were being held responsible for that vulnerability.” This sentiment still touches him deeply, with him noting, “I rarely see the depiction of masculine Black and brown men expressing tenderness towards each other in media.
However, the emotional intensity that the “Sing Sing” cast expressed remains overwhelming for Domingo. To date, he has only watched the movie once. As he puts it, “In the sanctuary of my home, where I felt secure,” he whispers, his voice barely audible. “I was by myself.
“Sing Sing” is the rawest Domingo has ever felt on camera, he tells me, and his body is still connected to it. While promoting the film at festivals and awards events, he skips the screening portion of the night, slipping back into the auditorium as the credits roll. “When I watch it, I’m feeling whatever I was feeling, and I know that’s not useful when I need to do a talk-back with an audience. I can’t be going out there all emotional.”
After all his discussions about kindness, he listens and sighs disappointedly. “I’m not sure… I’ve never experienced that feeling. Perhaps… I’m uncertain.” He pauses, struggling for the right words. Despite being renowned for his eloquence, Domingo is momentarily stuck, searching for the appropriate response.
After pausing for thought, he navigates his way back to his point. “I aim to avoid excess, and I don’t want this conversation to revolve around me or my emotions,” he explains, rhythmically tapping the table between us. “Instead, I want to validate yours. Perhaps I’m mistaken. Maybe I should expose myself a bit more in our discussion. But I pour so much into my work, and I see that as my contribution.
Whenever I step out, I’m Colman Domingo, impeccably dressed,” he notes, his voice regaining its depth and assurance. “I can express myself in a thoughtful, controlled manner, keeping my feelings in check. There’s an element of mystery that I believe adds to the effect.
He’s gone back to the fabulous woman in San Francisco and her advice to employ a bit of illusion. “People notice that I dress very monochromatic. It’s a power move,” he says. “You can see me playing a king. You can see me playing a pimp. I’m not giving you all of me; I’m giving you an aspect of me that I want you to see.”
I can’t help but notice how skillfully Domingo subtly shifted the conversation away from discussing “Sing Sing” when it got too revealing. I remain silent, but I think he picks up on my thoughts. When he finally speaks, his voice is different yet again. This time, there’s no trace of his usual melodious tone. Instead, he candidly admits, “I feel like I’m exposing more of myself than typical.
Hiding his emotions, speaking eloquently, and wearing trendy clothing – it’s starting to be noticed that Domingo’s way of handling fame is a method he uses to protect himself from an industry or fans who might try to dictate what he can achieve. This tactic seems wise for any Black actor, particularly one who has openly expressed his queerness throughout his entire career.
However, his secrecy can also serve as a shield for the ventures he selects, even those that spark controversy.
Discussing the show “Euphoria,” its creator Sam Levinson has been a frequent topic of Hollywood rumors ever since its debut in 2019. There are tales of his conflicts with actors and difficulties as a director, along with criticism over his graphic portrayals of teen characters on-screen. The cast of “Euphoria” often finds themselves answering questions about Levinson during red carpet events, perhaps explaining why Domingo decides to voluntarily mention him.
Regarding the rumors circulating about Sam’s work habits, he doesn’t have much to add. However, I can speak from my own experience which has been fantastic. He genuinely involves me in decision-making by offering me the pen and asking for my opinion. That’s a testament to his collaborative nature.
Regarding his participation in the upcoming season, Domingo shares, “It seems I’ll be returning for Season 3. I have no details about the scripts or production timeline yet.” I remind him that HBO has announced resumption of shooting in January, and he chuckles, “I’ve only heard it could be January. I’ve learned as much as you have, so we’ll see. However, according to what I’ve heard, Ali is supposedly coming back.
Additionally, there’s Antoine Fuqua’s forthcoming Michael Jackson biopic where Domingo takes on the role of Joe Jackson, a character who was accused by Michael (portrayed by Jaafar Jackson, Michael’s nephew) of physical and emotional abuse. This film, titled “Michael,” is being produced by the executors of the Jackson estate, who continue to assert his innocence against multiple allegations of child sexual abuse while maintaining strict control over his public persona.
The simple existence of “Michael” has already sparked considerable criticism, and Domingo anticipates further controversy upon its 2025 release. However, he clarifies that his involvement in the ideas surrounding this character had no bearing on him. For him, it’s all about developing the character, rather than any personal associations. The opportunity to collaborate with the estate, Antoine Fuqua, and Jaafar Jackson – who Domingo considers exceptional – is what excites him the most.
On Sunday, Domingo stated that despite any influence the estate may have, the film will delve into the “multifaceted individual” who was the pop icon. In his words, “Everyone has their own tale to share.
While that clarification may not suffice for everyone, Domingo, being well-versed in diverse reactions, often adopts an approach tailored to evoke emotions in his audience. As a veteran of the stage, he’s dedicated to allowing the audience to experience whatever emotions they require.
People found him objectionable, he explained, due to his roles in Broadway productions such as “Passing Strange” and particularly “The Scottsboro Boys,” which is well-known for its application of blackface and minstrelsy. However, he pointed out that his role wasn’t to win people’s affection. His duty was to portray the story. He emphasized that it wasn’t about seeking approval, a principle he has carried over into his film and television projects.
In my portrayal of Fantasia in “The Color Purple,” some may find themselves with a strong reaction towards the character I played, Mister, who was abusive to Celie. It’s perfectly acceptable if you feel this way, but I hope it doesn’t reflect negatively on me as an individual. Similarly, during my stint as Victor Strand on “Fear the Walking Dead,” some viewers expressed their dislike for my character on Twitter. I would often remind them that they dislike Victor Strand, which is understandable, but not me personally. I don’t appreciate negative energy being directed at me.
However, some people might criticize Domingo for his role in “Michael” not because of any complexities in Joe Jackson’s personality, but rather due to his association with the Jackson estate. It’s essential to understand that he and Joe Jackson are separate entities, and it seems there’s a confusion between the two. Aren’t they distinct?
As a cinephile, I ponder over it. “To be honest,” I admit, “I believe I distanced myself from that aspect quite some time ago.
As I carefully adjust the hem of my Prada jacket, I’m aware of the subtle signal I’m sending. Indeed, it seems deliberate that Domingo is steering my gaze towards his monochrome attire, a style that’s challenging to fully capture in one glance.
He explains that his duty is to serve the artwork, rather than the reaction it elicits. That’s why he manages to perform as he does.
Styling: Alex Badia; Market Editor: Luis Campuzano; Grooming: Jessica Smalls/ A Frame Agency; Set Design: Desi Santiago/The Wall Group; Look 1 (3-full body portraits): Jacket: Schott; Shirt: Clark; Pants: Amiri; Belt and boots: Versace; Look 2 (cover): Blazer: Luigi Bianchi; Shirt: Giorgio Armani; Jeans: Sandro; Belt: Versace; Look 3 (red background): Turtleneck: Amiri; Look 4 (full body, trench coat): Coat: Emporio Armani; Shirt: Hermès; Pants: Amiri; Belt and boots: Versace; Look 5 (Coat: Ralph Lauren Purple Label; Boxers: Hanro; Pants: Louis Vuitton)
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2024-11-20 19:21