Being identified as a ‘movie star’ on a magazine cover came as a surprise to Colman Domingo. The playwright, director, actor and producer didn’t think of himself in that way. Yet here he is; not just a star, but a classic Hollywood star. Despite his working-class upbringing in Pennsylvania and now being in his mid-50s, Domingo’s star appeal isn’t hard to see, especially as he lounges in his floodlit Californian home in his flamboyant robe.
It’s understandable that Domingo might not immediately realise he’s reached such a status. From his humble beginnings to securing stage and TV roles in the late 20th century, his journey to fame has been a long and diligent one. His breakthrough moment came in 2011, when he was nominated for a Tony Award for his part in the Broadway musical ‘The Scottsboro Boys’. That recognition catapulted him into the higher echelons of celebrity.
In subsequent years, Domingo has become a familiar face, featuring extensively in the media. He’s part of the ensemble cast of the hit TV show ‘Euphoria’ and has held prominent roles in films such as ‘Ma Rainey’s Black Bottom’ and ‘The Color Purple’ musical. He even received a best-actor nomination at the Oscars for ‘Rustin’ earlier this year. Further recognition should come when the prison drama ‘Sing Sing’ is released.
“At 54 years old, understanding that I might be a ‘star’ brings me some amusement,” he admits. “Still, I’m finding the idea that I could be influential quite fulfilling.”
Domingo’s character is as alluring as his resonate, melodic voice. His warm personality radiates a sense of trustworthiness, making him seem well-prepared for the demands of fame. His levity coupled with diligence make him an appealing personality.
He recalls, almost in disbelief, of the time he was named one of the 100 most influential people by Time magazine earlier this year. “That was when I felt a new duty. If people are taking note of what I say, or even how I dress, I realise I have an impact. And that is something I find rather wonderful!” he exclaims.
It wouldn’t be incorrect to say that during the most recent award season, there was no better figure in a suit. Renowned publications like Vanity Fair have even proclaimed his Vuitton and Versace ensembles solidified his position as a “red-carpet standout”. However, all the style won’t amount to much if one lacks the acting skills. Reassuringly, Domingo re-proves his talent is in abundance with his role in Greg Kwedar’s highly-acclaimed prison film set in New York. This movie, a homage to the genuine Rehabilitation Through the Arts (RTA) programme, hired former prisoners from the same venture, acting side by side with accomplished professionals like Domingo. The transitions from RTA participants to Oscar nominees are captured flawlessly by the camera.
“I saw myself as both an exemplar and peer during this partnership,” Domingo shares, talking about his effort in understanding the perspective of these men trained by the RTA. He always knew that training can come from any source and he is no stranger to this, having learned his craft through years of working rather than studying at prestige institutions such as Yale or Juilliard. He holds immense respect for acting as a craft, which was evident in the cast, whom he describes as craftsmen. He was content to let them be themselves in their roles.
The movie paints a somewhat different picture of life in a maximum-security prison. It’s not as grim as films like The Shawshank Redemption or Cool Hand Luke depict. There’s no denying the characters’ longing for freedom, but there’s a surprising sense of hope amidst that.
Domingo clarifies that this wasn’t an attempt to create a political piece akin to Shawshank. Rather, it focussed on how this programme had the power to transform individuals. “It was about how art could be born and flourish in such a setting, in such a restrictive environment. Nonetheless, it was clear that this environment shouldn’t seem like a holiday resort”, he adds.
Reflecting on how the RTA provided a symbolic freedom to its participant prisoners, Domingo comes across as rather introspective. He advocates for the idea that acting has the potential to offer liberation and comfort to just about anyone, whether they are embroiled in personal turmoil or not.
“He acknowledges, “I suppose that’s right”. During his awkward adolescent years, Domingo landed his initial job at a Barnes & Noble bookshop. He was in charge of travel and self-help sections. However, he was aware that he was exploring his internal feelings and emotions as he was growing up. By his early 20s, his involvement in theatre brought about a similar self-awareness. It assisted him with embracing his emotions more profoundly, by enabling him to literally stand in other people’s shoes, and by allowing him to comprehend the psychology of varied individuals.
Domingo hailed from a hardworking African-American family in Philadelphia, being the third of four children. His mother juggled between her banking job and housekeeping duties. His father abandoned them when Domingo was barely nine years old, leading to an estranged relationship between the two. Despite taking up journalism in college, Domingo succumbed to the lures of theatre.
He recounts, “My mother prompted me to join a course purely for amusement since I was already attending all credit-earning classes for my journo major.” “A summer acting programme I had taken up at 12 resurfaced in my memories. It was a joyous experience as it helped me to overcome my introverted nature. I figured I could sign up for acting lessons in college.” He adds, recounting the day when his professor proposed the idea of acting as a career, an enlightenment he had not previously perceived.
Domingo’s illustrious career demonstrates that relentless dedication over decades can culminate in tremendous rewards. His distinctive ecology of handsome looks coupled with an innate knack for character roles makes him unmissable. His adept range in acting is demonstrated by his portrayal of the stalwart civil-rights protagonist Bayard Rustin in Rustin and the fallen character Mister in The Color Purple. He is slated to play the contentious character Joe Jackson, the father of Michael Jackson, in Antoine Fuqua’s biographical movie of the pop king, which is expected to release next year. The versatility exhibited in these roles is a testament to his journey through the acting hierarchy.”
Domingo recalls his early years, describing himself as a timorous child who did not see himself as part of the popular or attractive clique at school often involved in theatre. However, this self-perception guided him towards becoming a skilled practitioner, with a profound fondness for research, exploration, and immersion in his work.
In 2024, it seems obsolete to mention that Domingo is homosexual. Still, it’s noteworthy that he’s merely the second publicly out gay man to receive an Oscar nomination for portraying a homosexual character in the almost 100-year history of the Academy Awards. Considering societal transformations over recent years, these types of achievements should be far more prevalent, emphasising that individuals from LGBT+ backgrounds continue to face an uphill battle for equality.
Domingo expresses pride in his identity as a gay actor. However, he emphasises that he has never pigeonholed his abilities or the roles he can play, whether he takes on the role of producer or scriptwriter. His interests lie in a broad spectrum of experiences, and since he didn’t impose any limitations on himself, the industry, consequently, didn’t impose them on him.
The actor acknowledges that the roles weren’t always available. Thus, he felt compelled to write complex representations of queer men due to a desire to act roles of depth. These simply did not exist at the time. According to him, seizing hold of this power is how they continue to assert themselves in their field.
His engaging laugh surfaces as he notes how he’s regularly met with surprised tweets on the revelation of his sexuality. He jovially questions if there should have been any apparent hints to his homosexuality.