Movies

Colman Domingo Leads With Radical Love

BBG News

Even if you can’t meet Colman Domingo personally, you can get a glimpse into his soul – the infectious joy he derives from life and shares with others – by looking at a family photograph from Easter 1976. There, at just six years old, Colman is sandwiched between his older siblings, dressed in a trendy candy-striped blazer that could easily have belonged to Sammy Davis Jr. on stage at Cocoanut Grove. He stands tall and confident, legs crossed, looking directly into the camera. When he appeared on The View in late November, he shared this picture and the story behind it: The navy pants he’s wearing had a matching jacket, but it didn’t fit. Instead, he chose the striped one, despite his mother noting that it didn’t quite coordinate. “But it makes me feel good!” he told her, and rather than objecting, she encouraged him to wear what made him feel comfortable, shaping his fashion choices ever since.

At 55 years old, Domingo has earned a reputation for his unique yet timeless red-carpet fashion, drawing inspiration from a diverse range of influences such as Fred Astaire, the Ohio Players, Cary Grant, and Harold Melvin & the Blue Notes. Given this, it’s no surprise that he has been chosen as one of the chairs for this spring’s Met Gala, with the theme being “Superfine: Tailoring Black Style.” Fashion is deeply ingrained in Domingo’s essence, serving as a means of expression, connection, and communication – to those who came before him in the Black community. For those who view style as trivial, they have yet to encounter Domingo. Every aspect of his appearance, from his attire to his movements and even how he takes sips from a coffee cup, is so effortlessly intertwined with his identity – not just as a performer, but also as a writer, director, producer, and an individual who is fully engaged with the world – that it permeates the atmosphere around him.

kindness starts within oneself, and Domingo exudes such a peaceful demeanor that he has an abundance of kindness to share. In these challenging times marked by political and emotional turmoil, where compassion seems to be in short supply, these drops of kindness are like pure gold. “Everything I do is about profound love,” Domingo reflects, over coffee at the Chelsea Hotel in New York City. “It’s about seeing each other. What am I here as a creator? It’s about stirring thoughts, perhaps helping people think differently. You know, that’s all I can do. The broader issues I can’t tackle. But I can care for the smaller details.

Domingo has received a nomination for the Best Actor Academy Award for his exceptional performance in the film Sing Sing, a movie by Greg Kwedar that is based on true events and revolves around men who find redemption through a theater program within prison walls. This marks the second consecutive year that Domingo has been nominated; he also received recognition for his role as Bayard Rustin, a civil rights activist, in George C. Wolfe’s 2023 biopic Rustin. (He is the first actor to be nominated two years in a row since Denzel Washington, who was recognized for his roles in Fences and Roman J. Israel, Esq. in 2017 and 2018 respectively.) Currently, Domingo is the lead actor in Netflix’s multi-part thriller The Madness, where he portrays a media personality who becomes entangled in a murder plot in the woods of the Poconos. In addition, he has numerous projects lined up for 2025 and beyond: he will play Joe Jackson in Antoine Fuqua’s upcoming biopic about Michael Jackson, appear in Tina Fey’s new series The Four Seasons, a modern adaptation of Alan Alda’s 1981 comedy, and potentially direct and star in his own Nat King Cole biopic as well as a drama about the romantic relationship between Sammy Davis Jr. and Kim Novak. He is prepared to take on both acting and directing roles for these upcoming projects.

Despite the recent intensified focus on Domingo, it’s important to note that he has been a fixture in various artistic realms for some time. In the early 2000s, he made his mark on Broadway with productions such as “Passing Strange” and “The Scottsboro Boys,” earning a Tony nomination for the latter. More recently, in 2022, he was awarded a Primetime Emmy for his recurring role in “Euphoria.” Movie enthusiasts recognize him from films like “Lincoln,” “Ma Rainey’s Black Bottom,” “Zola,” and “The Color Purple.

Despite spending around three and a half decades performing in various capacities, he’s both appreciative of and taken aback by the increased recognition he’s received during the last five years or so. “To put it simply, this wasn’t part of my plan at all. I aspired to be a respected actor, and I found my niche primarily in theater as a character actor. I felt that was where I could make the most significant contribution.” As he started taking on more TV roles, things started to change. “It seemed like the roles were tailored for me, and I was drawn to them.” Now, he’s fully aware of his good fortune, and he’s also in a position to influence positive changes for others. “I find myself thinking, ‘Wow, I get to make a difference? What can I do? What can I change?'” He chuckles, a deep laugh that echoes as if it originated from the sea, even though Domingo was born and raised in West Philly. “That’s what I want to do, and I aim to do it in the kindest, most generous way possible.

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In my earlier days, I found myself as a “dance instigator” for bar mitzvahs, coaxing reluctant guests onto the dance floor. Now, while I don’t have any formal dance training, I’ve always had this bouncy, graceful stride reminiscent of delicate lily stems. It’s challenging to envision Mrs. Rosensweig, or anyone else for that matter, being able to resist my infectious energy.

However, it seems plausible that there was more to me than just charisma and nimble dance moves. I suspect I offered a sense of security too – the comforting feeling that if you danced with me, I would stand by your side.

Prior to his appearance on The View, he asked his two nieces, who are more like family to him, to join him in the greenroom ahead of time and later watch the show from the audience. Observing him with family, or even his team of assistants, reveals a man who acts without hesitation to hold doors open for others, metaphorically speaking. Being around him is not just enjoyable, but also soothing, as if he’s taking care of everyone in his circle, despite the numerous responsibilities that come with being a dedicated performer and now a highly recognized individual.

It appears that both his friends and Bradley Cooper share similar sentiments. Bradley Cooper encountered Domingo last year during award ceremonies; the former for his Leonard Bernstein biopic “Maestro” and the latter for “Rustin.” As Cooper recalls, they met at a CAA party following the Golden Globes. Their conversation was filled with warmth, with Cooper describing Domingo as radiant. Since then, they have cultivated a friendship. Domingo acknowledges that Cooper has been invaluable as a sounding board for his Nat King Cole project, although Cooper modestly claims he hasn’t contributed much. However, he appreciates having someone to discuss important projects with. Cooper expresses joy at having formed a genuine connection. As one matures, making new friends becomes less common, but Cooper found a true friend in Domingo, which is delightful. Moreover, Domingo creates an environment conducive to friendship, and this quality is admirable.

Domingo, much like Cooper, is brimming with creative thoughts. He’s excited to tackle larger, bolder endeavors – ones that bring about change in a compassionate, benevolent manner. Similar to many successful individuals, his self-confidence has been earned piece by piece over time. He never envisioned the career he now has as a given. “I’m pleased that I’m being recognized at this moment, on my own terms, in the way I wanted to be perceived. I didn’t have to transform into another artist who had to abandon parts of themselves. I present all of myself – every bit of my experience as a theater practitioner, director, writer, and producer.

Through his versatile performances in both film and television, Domingo has expanded his horizons, enabling him to contribute more broadly to the industry. As studio and streaming executives hesitated to approve risky or ambitious projects amidst the challenges of 2024, such as the aftermath of the pandemic and actors’ and writers’ strikes, many creative professionals found themselves struggling financially and professionally. Coined the phrase “Survive till ’25,” this sentiment reflected the struggle to stay afloat. Even before the devastating Los Angeles wildfires displaced numerous people, Domingo’s house in Malibu remained intact. With his career success, he’s not only seeking personal acclaim but also advocating for stories that need to be told. Essentially, it’s not just about climbing higher; it’s about elevating others.

His role in Sing Sing, as both an actor and executive producer, serves as a clear example. When he agreed to portray John “Divine G” Whitfield – a man unjustly imprisoned who discovers a means of survival through the arts – director and co-writer Kwedar, together with the film’s other creators, proposed an equal pay model where everyone involved would receive the same wage. Domingo was drawn to this concept. “My heart swelled. I’m not sure if it applies to every production. But I believe there are aspects that could work, particularly for low-budget films. You’re participating because you’re passionate about it,” he said. And when the project thrives, everyone reaps the rewards, not just a select few at the top. “I think that’s simply fair,” Domingo notes. “When we sold the movie to A24, the most gratifying part was knowing that checks were being issued to every department and individual. That felt so significant and meaningful, especially given the current turmoil in the industry. This model could potentially bring about a transformation, ensuring everyone feels valued.

In the movie “Sing Sing”, Domingo’s co-star, Clarence Maclin, is a seasoned participant in the real-life rehabilitation program that served as the basis for the film, Rehabilitation Through the Arts. This program also cast several other formerly imprisoned men. In the movie, Maclin portrays a character based on himself, a man who experiences significant growth when he engages with the program. Interestingly, Maclin had honed his acting skills at Sing Sing, despite its poor acoustics and less-than-ideal sound system. Domingo aided him in refining his performance to suit the close-up of the camera lens. However, the advice Maclin received from their collaboration transcended technical aspects. As he shared via Zoom, “Domingo is the genuine article when it comes to someone who is genuinely committed and sincere about their intentions. I aspire to be like him, and his guidance serves as a beacon for me.

The essence Maclin grasps is that living life involves much more than just looking out for oneself; it’s crucial to concentrate on what unites us rather than the things that separate us. Three weeks post-election, I encountered Domingo, a time when many were still reeling—and somewhat paralyzed—by the outcome. As a gay Black man, he champions those he cares about and understands the journey may not be smooth. Despite the election results on Nov. 6, instead of panicking, he thought, “This is where we are.” His optimism is contagious; conversing with him makes you feel as though he’s giving you a key to unlock potential; you know you can achieve it, even if you’re not a towering movie star with an effortless charm. He says, “The pendulum will swing,” recalling his ancestors who endured hardships, yet managed to survive and thrive. Thus, he cannot succumb to despair or sorrow; instead, he must continue the struggle: fight, love, and find joy in a revolutionary manner—all while honoring his lineage as a proud descendant of slaves.

By respecting the past and paving the way for the future, you can kick off the celebration for all.

Or more colloquially: You pay tribute to those who came before while clearing a path for those yet to come – that’s how you get the ball rolling!

Design credits for the set go to Ibby Njoya, with styling work handled by Ola Ebiti. Hair and makeup were done by Mata Mariélle. The production team includes Ragi Dholakia Productions, while retouching was carried out by Touch Digital.

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2025-02-06 16:10

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