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In May of 2016, things began to go awry. Danielle Brooks was experiencing great success, having launched her career in the popular show Orange is the New Black and starring on Broadway in The Color Purple. On the morning of the Tony nominations announcement, she was scheduled to appear on breakfast TV with the cast, but her nerves caused her to stay at home. She ended up watching from home and was overwhelmed with emotion when her nomination was announced. Despite having performed hundreds of times before, she struggled that night singing the song “Hell No” and realized she was singing off-key.
She recalls, “I had just received a nomination for Tony and yet I felt like a disappointment. I was mortified and went back to my dressing room to cry. I felt like I couldn’t handle it.” The following evening, she decided not to perform and instead visited her therapist. “I confided in her about my doubts,” she says. It took some effort, but the turning point was when she sang the song “Hell No” on stage. “Playing Sofia’s character helped me find my strength. I was grateful to be playing a woman who didn’t care about others’ opinions.” This was the same role that catapulted Oprah Winfrey to fame in the 1985 adaptation of Alice Walker’s novel, a character Winfrey described as the embodiment of self-empowerment.
Sofia is determined to embrace her own power and strength, making “Hell No” a personal anthem. The song helped her overcome her fears and doubts, including impostor syndrome and feelings of inadequacy. Despite the challenges, she fought to perform on stage eight times a week for an entire year. The song was not only a source of strength, but it also helped her land a lead role in the new movie adaptation of the musical. Recently, she received a Golden Globe nomination, which she describes as a validation of her talent and abilities. However, as she has spent more time getting to know herself and her craft, she has learned to validate herself and not rely on others’ validation. Watching the nomination announcement brought her a sense of calm and peace, as it felt like the arrival she had been preparing for. Currently, she is in New York, smiling and walking around her hotel room in a vest with no makeup, while dealing with spotty internet connection.
It has been a nostalgic experience, with a series of arrivals coming full circle. At the age of 34, Brooks reminisces about her first major theater show, The Color Purple, which she saw at the age of 15 and credits with changing her life. Hailing from a small town in South Carolina, where opportunities in the film industry were limited, Brooks finally saw a path for herself after witnessing the powerful performance. Seeing representation on stage, with actors who looked like her and had similar experiences, was a spiritual experience for Brooks who grew up in a church with both her parents involved in ministry. This sparked her passion for performance and led her to attend a performing arts high school and later, Juilliard. However, upon graduating, Brooks struggled to find roles that truly reflected her as a 21-year-old, dark-skinned, curly-haired plus-size woman. The industry offered limited roles for women of color, often portraying them as stereotypical characters. Despite her initial hesitation, Brooks auditioned for the role of Taystee on Orange is the New Black and ultimately took the part, despite her Christian background causing some fear about a topless shower scene in the script. Looking back, she is grateful for the opportunity and the impact it has had on her career.
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Brooks consistently strikes a delicate balance between humor, anger, and sorrow in each of her performances. As Taystee, she served as the heart of OITNB, maintaining a cheerful and optimistic attitude despite a life filled with moving from one abusive institution to another. Her portrayal earned her widespread recognition as the standout star of the show, as her character’s experiences mirrored those seen in the real world. However, after seven seasons of maintaining hope, Taystee ultimately faced an unjust fate, shedding light on the harsh reality of America’s flawed criminal justice system.
Taking on this role allowed her to see the connections between her work and her activism. Producing pieces like The Color Purple, which explore the core aspects of humanity such as forgiveness, love, resilience, and radical femininity, holds great power. This is why there are attempts to censor movies and books – because of the impact they can have. What did she learn from the story? “It taught me that it is possible to overcome oppression, seek redemption, and correct past wrongs. You can find the strength within yourself and be the hero of your own journey.”
In addition to the opportunity to express her true self without societal pressures, being a part of OITNB meant something more to Brooks. It was about delving into the core of the prison system and addressing important issues such as ICE and Black Lives Matter. This also gave a voice to those who are often unheard. The show went even further by creating the Poussey Washington Fund to assist incarcerated women, a cause that Brooks takes great pride in and finds motivation from. While she has no aspirations to become a political figure, she uses her art as a platform for political activism, going beyond just her on-screen performances. She also strives to break stereotypes and expand opportunities for people who look like her in the entertainment industry. This is evident in her role as an action hero in Peacemaker, a spinoff series from the popular film The Suicide Squad. As Brooks points out, there has never been a plus-size Black woman portraying a superhero before. She recalls growing up watching Queen Latifah in romantic comedies and feeling grateful for representation in the media. Brooks sees potential for herself in the romcom genre as well, further showcasing the importance of diversity and representation in all forms of art.
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When she first joined the cast of the musical revival of The Color Purple, she had the opportunity to meet Oprah Winfrey, who was a producer. However, she was too timid to approach her and was worried about seeming like she wanted something from her. She would hide in a corner and only wave back when Winfrey acknowledged her. It wasn’t until Winfrey surprised her on a Zoom call to offer her a role in the movie version that they truly connected. This led to a mentoring relationship that Brooks is grateful for and speaks about with excitement, albeit a bit shyly. After a two-hour phone call with Winfrey, Brooks knew that her life was about to change. She felt confident and ready for the new experience. Despite people telling her that she had big shoes to fill as Winfrey’s protégé, Brooks appreciates that Winfrey allowed her to be herself and bring her own unique perspective to the role. She felt like Winfrey personally passed on the torch to her.
Oprah Winfrey suggested to Brooks that she continue to reflect on a quote by Maya Angelou: “I come as one, but I stand as 10,000.” This quote struck a chord with Brooks. “The more specific you are, the more relatable the story becomes. It’s not just people of color who experience abuse, loss, fears, and oppression. Anyone can relate to this story in some way.”
In 2019, Freeya was born to her and her husband, Dennis Gelin. The couple chose the name as a symbol of being free in the world and as a personal reminder to always stay free. They decided to relocate from New York to Georgia in pursuit of a simpler lifestyle and to break away from industry norms. When asked about the meaning of freedom to her, she replied, “It means having the freedom to live life on my own terms without worrying about others’ opinions. True freedom is being able to love others and yourself without limitations.”
How has the industry and its relationship affected this? She reflects, pauses, and continues, “At times, the industry silences people of color. Every few years, we see successful films like The Color Purple, Black Panther, or Hidden Figures. But I want to see consistent representation of our stories and a broader range.” Personally, she adds, “I hope we can break away from European standards of beauty. We are not fair to differences. The industry needs to move away from the idea that a film will only be successful if it features a certain look.” She cites Orange is the New Black as proof, explaining, “We were relatable in our prison uniforms and natural hair, and people connected with all of our stories.”
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She has always contemplated the concept of beauty, its boundaries, and privilege, and how to broaden its definition. “I have not always viewed myself as beautiful – I’ve had to pretend. I know this is largely due to the industry – everywhere I go, the world has been telling me that I am not attractive enough.” However, a shift occurred when she saw herself on a billboard in Times Square, modeling for Lane Bryant, an American clothing company. Suddenly, she felt that the possibilities were endless. “I now see the beauty in myself. When your body changes after having a child, there is internal work that needs to be done to accept it. Bringing life into this world was one of the most remarkable things I could have done. So why would I criticize my body for gaining more stretch marks and inches around my waist? That is so unkind!” She is now interested in using her platform to inspire others to “celebrate individuals for who they are.”
However, she has realized that each of the roles she has played has contributed to her self-celebration. She specifically mentions her portrayal of Mahalia Jackson, the gospel singer and civil rights activist, as well as her roles in Lena Dunham’s Girls and The Color Purple. Through her character of Sofia, she has learned to embrace her power and confidently bask in it without pretending or holding back. She no longer feels the need to hide her inner gifts and talents. She concludes with a laugh.
The Color Purple is released on 26 January
Tish Celestine styled the hair for this shoot using products from Design Essentials, Mielle, and Chi. Keita Moore did the makeup, using Maybelline products for The Only Agency. Sarah Keum was in charge of digital technology, while Jacob Polcyn-Evans served as the first assistant and Maxim Diaz Raczynski as the second assistant. Jill Lewis handled retouching, with assistance from Kelly Augustine on styling.
Source: theguardian.com
