A former DJ, imprisoned at Sing Sing for a crime he didn’t commit, finds purpose by acting in a theater troupe with other incarcerated men. When a wary outsider joins the group, the men decide to stage their first original comedy. A film by Greg Kwedar, starring Colman Domingo, Clarence ‘Divine Eye’ Maclin, Sean San José, and Paul Raci.

The course of true love never did run smooth. But either it was different in blood or else misgraffed in respect of years…

After a successful performance of William Shakespeare’s comedy A Midsummer Night’s Dream, the theatrical crew returns to their cells at Sing Sing Correctional Facility, where Divine G (Colman Domingo) spends his days working on his play and feeding geese in the facility yard.

Sing Sing Correctional Facility is a maximum-security prison located in Ossining, New York. Established in 1826, it is one of the oldest penal institutions in the United States and has a storied history, once notorious for its harsh conditions. The facility currently houses around 1,700 inmates and is operated by the New York State Department of Corrections and Community Supervision (NYSDOCCS). Originally known as Mount Pleasant Prison, Sing Sing was built to accommodate the growing prison population and replace Newgate Prison. It was constructed using convict labor and designed under the supervision of Elam Lynds, who enforced strict discipline and silence among inmates. Over the years, Sing Sing has evolved from a site of severe punishment — including the use of whippings and executions — to a model facility that emphasizes rehabilitation through various programs.

The Steering Committee, led by Divine G, is reviewing the waiting list to decide whom to recruit for the open spots. Despite everyone seeming to be against the idea of bringing in Divine Eye, Divine G suggests they should at least give him a chance to interview. He believes this will help determine whether Divine Eye has any potential. Ultimately, the committee will have the final say on whether to allow Divine G to join.

When we are born, we cry that we are come to this great stage of fools.

Divine G and his best friend Mike Mike (Sean San José) go to check Divine Eye out. They are impressed that Divine Eye (Clarence ‘Divine Eye’ Maclin) not only knows William Shakespeare’s King Lear, but he can also recite a verse that he claims resonates with him. Later, Divine Eye joins their theater group.

Brent Bruell (Paul Raci) arrives to join the group as the director and discuss their upcoming production. The majority of the group seems interested in Divine G’s play, Fine Print, which tells the story of Zabar Turner, a record producer who gets tricked into giving up his recording studio. However, Divine Eye suggests they should do a comedy instead of a serious play about drama and tragedy. His suggestion piques everyone’s interest, and they all chime in with ideas for what the comedy could be about, including western cowboys, Egyptians, Robin Hood, Peter Pan, Jason from Friday the 13th, A Nightmare on Elm Street, and time travel. Brent proposes that he could write an original script, and if it doesn’t work out, they can always pivot to something else.

In their next meeting, Brent hands out a 147-page script that he wrote over the weekend. The script incorporates all the elements they wanted for the play, including ancient Egypt, pirates, and Old West gunfights, along with his own ideas such as Hamlet, the Black Plague, and Roman gladiators. He explains that at the heart of the story is an Egyptian prince who follows clues through time to find his mummy. Brent asks everyone to read the script and identify which character they connect with. Each person will read the lines for the role they want, and the committee will decide if they are a good fit.

Later, G is surprised to see Divine Eye auditioning for Hamlet, the same role he wants. G confronts Divine Eye about why he is auditioning for the only dramatic role in the play when he was the one who suggested they do a comedy. Divine Eye explains that he thinks comedy is difficult for him and that he doesn’t want to get booed off stage. G realizes that Divine Eye has been playing with him all along.

Directed by American filmmaker Greg Kwedar from a screenplay he co-wrote with Clint Bentley, based on John H. Richardson’s 2005 Esquire article “The SING SING Follies” and Brent Buell’s musical comedy “BREAKIN’ The MUMMY’s CODE”.

The play “Breakin’ the Mummy’s Code” is a unique and comedic production that was written and directed by Brent Buell in 2005, and performed by incarcerated men at Sing Sing Correctional Facility. The play features a time-traveling narrative where the main character, a man from ancient Egypt, encounters various historical and fictional figures, including Robin Hood, Roman gladiators, and even Freddy Krueger.

At first glance, if you only read the film’s synopsis, you might think SING SING is just another prison drama you’ve seen before. However, it takes a different turn as we follow an inmate who, as the story unfolds, is revealed to have been wrongfully imprisoned. With a kind heart, he dedicates himself to helping his fellow inmates by introducing them to a theater arts program as he wants to give them something to look forward to and help them reclaim their sense of humanity.

SING SING is a heartwarming film, that radiates with hope and generosity in a world often overshadowed by fear and tragedy. It features several touching moments, particularly the poignant montage scene at the end, which leaves a lasting impression.

The cast delivers remarkably authentic and compelling performances, with Colman Domingo and Clarence ‘Divine Eye’ Maclin particularly standing out, although I mostly don’t recognize any of them except Domingo.

As the credits rolled, I was surprised to learn that most cast members portrayed versions of themselves. This unique casting approach featured former inmates who had participated in the Rehabilitation Through the Arts (RTA) program, as well as individuals with connections to it, adding an extra layer of authenticity to their impressive performances and highlighting the film’s dedication to genuine representation.

Rehabilitation Through the Arts (RTA) is a transformative program founded in 1996 by Katherine Vockins at Sing Sing Correctional Facility. It provides arts workshops — such as theater, music, dance, and visual arts — to over 230 incarcerated individuals across six New York State prisons. RTA aims to develop life skills, foster self-expression, and promote community through creative collaboration, emphasizing human dignity over punishment. The program has shown significant success, with a recidivism rate below 5%, compared to the national average of over 60%.

SING SING premiered at the Toronto International Film Festival on 10 September 2023. The film received a limited theatrical release in 4 theaters in the United States on 12 July 2024, before expanding to 18 theaters on 2 August, by A24.