How the prison-set ‘Sing Sing’ captures the magic of acting

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As a former inmate who had the opportunity to participate in a prison theater program similar to RTA (Rehabilitation Through the Arts) depicted in the film “Sing Sing,” I can attest to its profound impact on my life. The idea that one could liberate themselves from the shackles of their past and become something new was a beacon of hope in an otherwise bleak existence.

In the new film “Sing Sing,” the story unfolds within the imposing, gray and Gothic walls of a maximum-security prison of the same name, situated in upstate New York. Despite its ominous reputation for punishing its residents, most of the action takes place in a spacious auditorium. With its high vaulted ceilings and large windows, this area is filled with sunshine, creating a contrast to the prison’s grim surroundings.

At this location, a prison theater group gathers several times a week for various durations, ranging from a few hours to an entire day. While engaged in their activities, these men are no longer inmates but rather daring pirates, rugged Old West cowboys, and complex Shakespearean villains. They participate in improvisational exercises, don costumes, memorize scripts, and practice using props; they experience a gamut of feelings, just as the greatest storytellers do.

As one incarcerated actor puts it in the movie, “Brother, we’re here to become human again.”

In “Sing Sing,” the line serves as its thesis statement. This compelling drama, drawn from authentic experiences, showcases Hollywood’s most nuanced portrayals of acting. Acting isn’t just a means for self-expression or an industry’s foundation; it’s the ability to momentarily step into someone else’s shoes and bring them to life. When shared among people, this imaginative pastime can lead to profound and lasting transformations.

“The movie ‘Sing Sing’ hits theaters today, following its successful run at South by Southwest where it received an award and numerous positive reviews, as well as buzz for possible Oscar recognition. According to director Greg Kwedar, the film’s success can be attributed to the strong foundation laid by Rehabilitation Through the Arts, a volunteer-based theater program established at Sing Sing in 1996 which has since expanded to include dance, music, visual arts, and creative writing in eight New York state correctional facilities.”

As I sat down to watch this thought-provoking film, I couldn’t help but feel a palpable sense of openness and vulnerability on the screen. The actors’ commitment to using their craft as a tool for personal growth was truly captivating. In an interview, the filmmaker shared that this raw authenticity was born from years of trust and camaraderie among the cast, all RTA alumni who bring their own experiences to life on screen. By immersing themselves in the rehearsals, workshops, and performances, the writers Kwedar and Bentley expertly wove these real-life connections into their compelling script.

Colman Domingo, center, and the cast of “Sing Sing.”
(A24)

At most professional theater companies, productions of classic texts are carefully crafted to ensure historical accuracy and logical storytelling. In contrast, RTA places greater importance on the emotional sincerity of each actor’s performance. This difference is immediately apparent in their production “Sing Sing,” where Colman Domingo, a veteran actor from “Rustin,” portrays John “Divine G” Whitfield. He acts out his role as the founder member within the prison’s staging of “A Midsummer Night’s Dream.” With complete dedication, he delivers Lysander’s lines (“The course of true love never did run smooth”) while wearing a gold crown.

“What’s with the costume for him, Domingo wondered aloud during our video chat, chuckling? He’s not royalty, he’s one of the lovers. Perhaps it was the only available attire. Regardless, that decision makes sense to those involved in the production: Lysander wears a crown – so what’s the issue?”

As a passionate fan, I’m in awe of RTA’s unyielding commitment to flexibility, a trait scarcely found in both the theatrical and prison realms. We often convince ourselves that there are set identities we must adhere to, but RTA proposes something revolutionary: you don’t have to be defined by your past or the hardships you’ve endured. Instead, you can break free and transform into something extraordinary. And as an audience member, I crave that sense of liberation and permission to embrace my own potential for growth.

“Sing Sing”: A film that portrays a troupe of prisoners as they prepare for their unique production – a time-traveling comedy filled with various elements such as mummies from Egypt, gladiator fights, dance sequences, a Hamlet monologue, and even a surprise appearance by Freddy Krueger. The plot is inspired by a 2005 Esquire article about this particular prison program, but the movie’s main focus shifts away from “Cracking the Mummy’s Code” towards the personal growth of these individuals as they learn to recognize their own worth and capacity for creativity and renewal.

Clarence “Divine Eye” Maclin plays a version of himself in “Sing Sing.”
(A24)

Clarence “Divine Eye” Maclin, 58, shared that acting in prison was therapeutic for him. He explained, “I was able to release a great deal of my frustrations and anxieties by portraying different characters. Through this experience, I gained new perspectives on life.”

I’ve always looked forward to rehearsals with excitement, seeing it as a sanctuary of sorts. In this safe haven, I knew I could find healing and enjoy myself. People might find that surprising, given the setting is a prison. But for us, that space wasn’t synonymous with confinement; it was our space. Through creating art and having volunteers engage with us, we were recognized as individuals whose thoughts and feelings mattered. This unique existence within an environment that sought to erase ours was nothing short of beautiful.

During the production of “Sing Sing,” from the auditions to the opening night, I worked diligently with my fellow actors to ready ourselves for our roles. We practiced rigorously, engaging in dance battles, rehearsing sword fights, and participating in improv games. These improv sessions were unscripted, creating new scenarios on the spot under the guidance of Paul Raci, a renowned actor nominated for an Oscar for his performance in “Sound of Metal,” who brought Brent Buell, the longtime RTA volunteer-playwright, to life before our very eyes.

Kwedar explained that capturing these spontaneous, self-expressive acting moments was challenging because they held deep significance. These instances were expressions of pure joy during the filming process, akin to intense bursts of delight. To truly immerse the audience, we kept the camera unblinking and close at hand, mirroring the actors’ liberated feelings in that environment.

Domingo believed it was daring for media to portray men, particularly men of color, as vulnerable. He expressed, “The world doesn’t recognize us in this light.” Instead, we’re often shown as hyper-masculine, tough, or deteriorating characters, which shapes people’s perceptions. However, Domingo and his fellow actors understand that love, gentleness, playfulness, and camaraderie are genuine aspects of our nature.

James Williams, left, and Sean San José in the movie “Sing Sing.”
(A24)

Kwedar mentioned that he and Domingo believed “Sing Sing” ought to embody the qualities of being sincere, refined, and compassionate – traits seldom associated with a film set in a penitentiary. Instead of adhering to the genre’s customary portrayal of brutality and dehumanization, the director opted for a unique approach. The yard sequences outside the theater group’s activities were depicted with an unyielding stillness, evoking the image of a Greek chorus that was unable to act, speak or express any form of affection or emotion. To me, this sense of immobility and detachment seemed more terrifying than any amount of violence.

Over a 19-day span in July 2022, “Sing Sing” was produced at various closed correctional facilities. Working in such locations presented considerable challenges, both logistically and emotionally for the formerly incarcerated actors, despite having a counselor’s support. Co-writer and producer Bentley described the atmosphere as “all concrete with no ventilation.” However, when these actors came together to film, their collective energy brought an abundance of joy that outweighed the discomfort of shooting in this harsh environment. Entering their makeshift space was akin to stepping into a vibrant world in “The Wizard of Oz.”

The film ends with clips of thrilled curtain calls from real Sing Sing productions, which RTA collected over the years not just for preservation but to share with the families of imprisoned performers. The movie doesn’t focus on who gave the best performance or which actors went on to have professional careers after being released. It doesn’t care about those details.

Kwedar explained, “In this film, the acting we’re examining goes beyond performing for an audience on opening night. When actors merely memorize lines and focus on technical perfection, a superficial falseness can result. However, when they manage to step out of their own perspective and see through another character’s eyes, their empathetic abilities are activated, leading to a profound truth that is uniquely powerful.”

Director Greg Kwedar, left, and Colman Domingo on the set of “Sing Sing.”
(Phyllis Kwedar / A24)

“In ‘Sing Sing,’ the authors emphasize that acting requires effort, imagination is a skill that should be trained, and daydreaming is a valuable practice deserving of respect. Through their initially conflicting personalities, Domingo and Maclin learn to see each other and themselves in a more positive light. The time spent on seemingly trivial improv activities and meticulous rehearsals fosters understanding and compassion between them, paving the way for an authentic friendship. Essentially, they undergo a profound transformation.”

An RTA program resolution reflects the findings: A 2011 study by John Jay College for Criminal Justice indicated that individuals engaging in RTA programs display enhanced social abilities and reduced conflicts within prisons. Additionally, statistics provided by RTA reveal that a minuscule 3% of their members reoffend and return to prison, whereas the national average hovers at an alarming 60%.

These findings strongly suggest that trying acting, regardless of one’s current situation, can have a profound impact.

According to Kwedar, let us remember the significant influence we hold. If such transformation occurs in Sing Sing, it’s possible anywhere. We don’t need to accept misery as our fate. Art is essential as the air we breathe, and wherever people have the opportunity to engage with it, they can flourish.

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2024-07-18 18:15