‘Sing Sing’ (review)

The restorative power of art engagement is well-known, from adult coloring books to music therapy to poetry slams.

For those behind the wall at the notorious Sing Sing prison, the Rehabilitation Through Arts (RTA) program is an opportunity to forget the yard and remember what it’s like to feel – even if those emotions are more complicated than comforting.

When the delicate balance of trust and brotherhood is tested by trials both outside and behind the wall, will the bonds built in rehearsal hold fast?

The latest A24 project from frequent collaborators director Greg Kwedar and co-writer Clint Bentley, Sing Sing follows John “Divine G” Whitfield (Colman Domingo), a talented, wrongfully imprisoned writer and performer.

After a wonderful Shakespeare run, the troupe regroups to invite more men to audition and choose the next play.

Newcomer Divine Eye (a phenomenal debut by the real Clarence “Divine Eye” Maclin) causes a stir when he suggests a comedy over the self-written drama that Divine G has on deck. The resulting play-by-committee has time-traveling, mummies, Freddie Krueger, gladiators, and more to ensure everyone has a say.

Breakin’ The Mummy’s Code was a real offering from the RTA program, and part of the painstaking research and casting to ensure that those most affected felt seen onscreen. In addition to Divine Eye, several central characters are played by former RTA members who intimately know the impact of a space where vulnerability is not just allowed but encouraged. This is a double-edged sword, however.

In an early dustup, Divine Eye reacts aggressively when staging a scene because someone is walking behind him. This reaction makes sense in their day-to-day life where the threat of violence is ever present but safety, whether physical or emotional, remains elusive. It demonstrates a key goal of the program, which is to find the person inside the prisoner again. Divine Eye’s arc allows him to explore his current limitations and push past them, depending on the troupe as much as he tests their boundaries (and patience).

The majority of Sing Sing covers the casting, rehearsal, and eventual performance of the play, but it is the secondary story of navigating the judicial system that gives Domingo and Maclin their meatiest scenes. This subplot follows both of the Divines as they prepare and appear before the board that can overturn sentences as well as grant parole.

While Divine G is well-versed with the endless paperwork and blind belief necessary to advocate for oneself, Divine Eye is new to the concept of hope. Each compiles a case, which is heard and acted on. The outcome is heartbreaking for both, but in unique ways that detail a sharp reality for this gentle film: the faith in humanity that exists in the auditorium is not necessarily transferable to the outside. Not if you want to protect your heart from the possibility that those few hours might be the only free moments you will ever have.

The film industry has done an extraordinary job of creating an incredibly narrow view of incarcerated persons. Sing Sing brings powerful performances and thoughtful, well-researched writing together to show a more hopeful side of life on the inside. The RTA program reports a less than 5% recidivism rate for participants, which is a fraction of the national rate. This film makes it easy to see why these earnest actors can see themselves as such, and so much more.

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Produced by Monique Walton, Clint Bentley. Greg Kwedar
Screenplay by Clint Bentley, Greg Kwedar
Story by Clint Bentley, Greg Kwedar,
Clarence Maclin, John “Divine G” Whitfield
Based on “The Sing Sing Follies” by John H. Richardson;
Breakin’ The Mummy’s Code by Brent Buell
Directed by Greg Kwedar
Starring Colman Domingo, Clarence Maclin, Sean San José, Paul Raci