Don’t Underestimate How Much Sing Sing’s Clarence Maclin Knows About Shakespeare

As a fan of Shakespearean drama, I can’t help but be captivated by the profound insights of Michael B. Jordan, an actor who not only delivers powerhouse performances on screen, but also reveals a deep understanding and appreciation for the written word. His interpretation of King Lear showcases not just a flex, but a subtle display of depth that only the most seasoned actors can pull off.

In this film based on real life events at Sing Sing prison, Clarence Maclin‘s smile is a memory that stays with you. When he flashes his grin, it transforms his entire countenance – showcasing a delightful gap between his front teeth, lighting up his eyes, and imbuing him with an air of youthfulness and playful mischief. In the role of a younger, revised version of himself, Maclin portrays a tough character who carries a knife, exudes intimidation in the prison yard, and peddles drugs to fellow inmates. His posture is hunched, his demeanor macho, and his charisma crackles with magnetic allure – making it impossible for you to look away from him.

Initially, Maclin (also known as “Divine Eye”) resists the positive outlook of prison veteran and renowned writer John “Divine G” Whitfield (Colman Domingo). He also questions the sincerity with which RTA’s leader, Brent Buell (Paul Raci), approaches the acting workshops as they work on the original time-travel comedy Breakin’ the Mummy’s Code. However, as the story unfolds, Maclin softens his approach towards Divine Eye, forming a unique bond with Domingo’s Divine G. This friendship, filled with oil and vinegar at times, offers some of the most emotionally powerful scenes in Sing Sing, such as when they share a moment gazing out of a prison window at the greenery beyond. One of the movie’s most captivating performances comes from Divine Eye’s rendition of Hamlet’s “to be or not to be” speech, which showcases his weary, regretful, and confident demeanor all at once, demonstrating the transformative power of RTA in a single scene.

Maclin was freed from prison in 2012, and six years later, director Greg Kwedar and co-writer Clint Bentley presented him with a role in the film “Sing Sing“, which is based on the “Esquire” article “The Sing Sing Follies”. This encounter took place through the real-life Buell. Notably, most of the cast are graduates from Sing Sing’s RTA program. Maclin now works as an RTA consultant and ambassador, aiming to keep motivating individuals who are being released. However, he doesn’t want his debut film role to be a one-time thing – he also wants to dispel any misconceptions about his acting abilities in the movie. “This work is significant and crucial,” he states. “We’re not here to exploit people; that’s not our intention.”

As someone who has spent my fair share of time on the stage and in the spotlight, I can honestly say that my audition for RTA, as described in Esquire’s “The Sing Sing Follies,” was a defining moment in my life. To be mentioned alongside such talented individuals, like Mosi Eagle and Big E, is truly an honor.

In the movie, there’s a scene where your character proposes doing a comedy sketch during a discussion among RTA members about their future performance. Some people might wonder if this scene is based on real life events. In reality, if my brother said “hot”, I would say “cold”. We have a unique relationship where we tend to do the opposite of what each other wants to do. This dynamic has pushed both of us to learn and grow as we had to research topics that we wanted to discuss together. It’s essential to be knowledgeable when discussing with my brother.

As a fan, one scene from the movie that I’m incredibly grateful for is when we’re all gathered together, and Brent instructs us to close our eyes and imagine a place. The beauty of this scene lies in its simplicity – Brent only directed us to lead the exercise, leaving the rest to our individual imaginations. The places we described upon opening our eyes were truly authentic, as they stemmed from the places we visited in our minds during that moment. This exercise was designed to help us unwind after performing so many shows, a time when we’d be reminded of our prison surroundings with the sound of metal doors closing and banging. It was like experiencing a depressive phase, and this exercise served as a way for us to decompress, peel back layers, and have a peaceful sleep that night. I can’t wait to see what unfolds tomorrow!

In the movie, you have a shared writing credit, and as you’ve mentioned before, you were brought on board due to your familiarity with prison life and ability to refine the dialogue. I’m interested in knowing if there was any particular scene or conversation that best demonstrates your contributions.
One scene that stands out is towards the end, when Colman is against the wall and I utter, “Yeah, you messed up, but we love you.” I penned that line. Many parts of it were inspired by my genuine friendship with the real Divine G, as that’s exactly how he behaved. He wouldn’t ask for help for nothing, but he was always there to lend a hand. It served as a tribute to Colman, who embodied Divine G in every aspect – on set, on camera, and off. His commitment to portray Divine G authentically in that moment gave me the chance to express what I truly wanted to say to Divine G himself.

Did you ever make an unexpected decision during your scenes with Colman that took him by surprise?
In the scene where we’re on the hill and he gives me the paperwork, I spontaneously added, “They better let me out on this bullshit right here, too.” [Laughs.] No one anticipated that. I came up with it spontaneously. Clint and Greg were very supportive about that improvisation. Making choices involves taking risks, and you often have to decide quickly whether the risk is worth it. This is a skill you learn over time through practice and training, even if it’s not formal training. I feel disrespected when people say, “You’re just playing yourself.” It minimizes the efforts of those who trained me.

You are playing a version of yourself, but it’s years removed from the present and a written and edited version. What was important for you about honoring that past version of yourself? How did you approach it?
I didn’t have to approach it alone, thankfully, because I had a whole team around me. All I really did was lay out stories to them and tell them how things used to be. Not only things that I’ve done or I’ve experienced personally but things like how the climate was and what people were doing. I did do 17 and a half years in this environment, and those memories are so carefully crafted into the character that I played. As far as the jargon and the language of the environment, there’s really no place to go research that because it changes every day. I had to go back to where we were at that time and the things we used to say. That’s where we get “beloved” from because that’s an actual true story. That’s one way we tried to make a change, by changing the way we identify ourselves.

How does it feel when someone says I’m only playing myself? Well, consider this: I was trained by these amazing individuals who went through rigorous checks and procedures to assist me in prison. To dismiss their efforts as me simply playing myself is disheartening because they invested so much into my growth.

Reflecting on the scene where I quote King Lear to Divine G in our movie, it was a pivotal moment that I hold dear. As someone who has spent time behind bars, I understand the importance of maintaining a tough exterior while harboring a deep love for knowledge and culture. That moment served as a subtle reminder of this delicate balance we strive to maintain.

“I’ve got to chuckle…it’s almost like showing off, yet it’s the type of ‘showing off’ that isn’t necessarily appropriate to display everywhere.”

Do you recall your initial encounter with King Lear? I can’t pinpoint the exact moment, but I believe it was during an RTA workshop where I first read it. However, when I heard it spoken for the first time, I appreciated it even more because Shakespeare’s work is heavily influenced by the tone and emphasis given to words. This can completely alter a sentence or an entire passage. Reading it was like being trapped for 30 days with no escape, making it a perfect time to delve into Shakespeare’s works.

You’ve got me curious about your interpretation of the Hamlet monologue, especially regarding the “all this is yours” bravado scene. That part always resonated with me as it’s so profound. To fully grasp it, I like to start from the end and work my way back. For me, understanding the last line, “Ay, there’s the rub,” was a challenge that took some time. Once I cracked that code, everything else in the monologue fell into place for me because I began to see it through the eyes of a man from a humble background.

In that pivotal scene, my character needed to remain as unpopular as ever for dramatic effect – to highlight the transformation, growth, and potential. Performing that Hamlet monologue was a privilege and joy because I adore it deeply; hence, I invested significantly in its delivery.

In the movie’s concluding scene, you find Colman’s character upon his release. The moment when we reunite is incredibly heartwarming and emotional. Could you share your thoughts on filming that?

In the end of filming, did you also capture the intense feeling of wrapping up the project? Was that emotional surge present as well? Indeed, it was. Colman wasn’t aware I was going to hug him; that was a secret. He believed we were just going to say our goodbyes and leave. After being so deeply involved in Divine G’s character, he felt like Divine G himself, stepping out after all that time and carrying all those emotions. He wasn’t sure how he would react to any physical contact. It was a moment teetering on the brink of emotion overflowing. Truth be told, I couldn’t resist giving him a hug then and there. And yes, I did it. [Laughs] The decision was mine, and Greg was in on it too.

2024-08-15 16:54

Don’t Underestimate How Much Sing Sing’s Clarence Maclin Knows About Shakespeare

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