Oscar-nominated actor Colman Domingo brings to life the inspiring story of a prison theater program in “Sing Sing,” a powerful A24 film that highlights the transformative impact of the arts within the walls of New York’s Sing Sing Correctional Facility. The film offers a fresh look at prison life by focusing on the Rehabilitation Through the Arts (RTA) program, which helps inmates through theater. Instead of typical prison drama themes, “Sing Sing” highlights the power of creativity and second chances.
The film, directed by Greg Kwedar, mixes professional actors with former inmates for an authentic feel. Along with Domingo, the cast features Paul Raci, Clarence Maclin, Sean San José, and more. In an interview with The Beacon, Kwedar shared how real-life stories helped shape the film, adding depth to this moving tale of rehabilitation and hope.
“The challenge was the extraordinary wealth of talent within the RTA of people who could have come into this film and contributed something beautiful,” Kwedar said. “It was really about finding the healthy ensemble size within the film that you could feel the magic of that community, but also give everyone a chance to shine and create space for everyone to have a moment.”
“Sing Sing” was brought to life by writer-director Kwedar and his script partner Clint Bentley, who developed the project after acquiring the rights to John H. Richardson’s 2005 Esquire article, “The SING SING Follies.”
Rather than simply adapting the story for the screen, Kwedar and Bentley took a journalistic approach, re-investigating the original events. The two interviewed individuals involved in the real-life story and participants in Sing Sing’s theater program. To maintain authenticity, they cast several key roles with former inmates who had undergone the same program, adding a deeply personal touch to the film.
“The script had three pillars to it. Everything that unfolded between the friendship was very scripted, and that was really the spine of the movie. The production of Mummy’s Code was a little looser, and we allowed the world to breathe more into that and created space for people to discover things in the moment,” Kwedar said. “I think most notably in the audition sequence, they were auditioning for Mummy’s Code. Some were prepared, and some were not as prepared. Then we would ask them questions, and those answers were incredibly honest and in the moment.”
For Kwedar, casting the film was pivotal. He knew the elements of the story the film needed to focus on and exactly who should take on the lead role: Domingo. From the outset, Kwedar had Domingo in mind to portray Divine G, a character central to the film’s heart and message.
“I wrote Colman Domingo in my notebook. I saw it all—him in the film. I could visualize us on set making it. I saw it in a certain timeframe,” Kwedar said. “A movie kind of announces itself when it’s time. You might really want it to have happened earlier and you’re fighting for it to happen earlier, but in your heart, maybe it’s not ready. But at that moment, it felt like it was in terms of casting.”
Kwedar’s choice to cast Domingo as Divine G wasn’t just about finding the right actor—it was about embodying the real-life essence of the man behind the character. Domingo’s ability to navigate the seriousness of Divine G’s fight for innocence while also capturing the playful moments within the prison theater program made him the perfect fit. When asked why he chose Domingo, Kwedar pointed to the actor’s deep understanding of the character, making him an obvious choice for the role.
“Colman really honored the spirit of the real Divine G. Someone who is kind of relentless about supporting others but then maybe doesn’t know how to ask for that same help himself. I think he understood that in a very deep way, but what was also interesting was honoring the real-life Divine G. Colman was also able to bring so much of himself to it,” Kwedar said. “I think a lot of the playfulness of that character was really that he was able to juxtapose the serious nature of Divine G’s intention to pursue his own innocence as well as hold this program together.”
This commitment to authenticity was not just something Kwedar sought for the film but also something he personally experienced through his involvement with the Rehabilitation Through the Arts program. Reflecting on his journey as a volunteer, Kwedar shared how being genuinely present and vulnerable became central to both the program and the film’s creation.
“We were always just in pursuit of that feeling and to try to be honest. To be truly present is something that I learned as a volunteer in the program because not only was it happening in front of me in the class that Clint [Bentley] and I taught, but it was also demanded of us,” Kwedar said. “They were demanding that we be present and put our masks down, and that’s a very uncomfortable place to be if you have never had to do it before. That was a great North Star that Colman spoke about to me early on, and we adopted it through drawing close to each other and holding each other, particularly for men. It’s hard to do, and that’s not innate.”
This focus on vulnerability and emotional connection carried over into the filmed performances, where the actors embraced a more profound sense of tenderness. Kwedar recognized that this was a theme within the film and a central aspect of the real-life RTA program.
“That’s a pressure put on men, particularly incarcerated men. To embrace tenderness was infectious throughout all the performances. It was already happening within the program, but to restate it and make it a mantra helped us elevate it and lean into it,” the director said. “Empathy is one of the core acting lessons, particularly in the RTA program. What does it mean to be a character and to walk in someone else’s shoes? That’s the power of cinema.”
For Kwedar, making the film mirrored the transformative work done in the RTA program. It was about creating space for emotional growth and understanding, something he hopes to carry forward in his industry future. The director believes that the essence of “Sing Sing” extends beyond the film itself, reflecting a connection that audiences experience when they engage with cinema.
“I think it’s part of why we come into these dark rooms and watch these movies—starting to be aware of that,” he said. “That’s the process of making the film; it was the process of the work and the program. I hope to carry it forward in anything else I ever worked on.”
Kwedar hopes “Sing Sing” encourages viewers to carry the visibility and humanity of the prison theater program into their own lives. By showcasing the transformative power of art and human connection, he aims to inspire audiences to see beyond stereotypes and recognize the untold potential in those around them.
“I hope people see the human potential behind the walls. The longer I’ve worked on this project, the more frustrated I was that my neighbors or friends hadn’t witnessed the same beauty, growth, and progress I had seen while working on the project,” Kwedar said. “I hope that millions of people will now be able to have the experience that I had. Also, just the beauty of friendship and the people you’ve been fortunate to have as friends in your life that you cling to, you draw closer to them as a result of seeing this film.”
“Sing Sing” is open in theaters nationwide. View the trailer below.
