Colman Domingo has a commanding physical presence, an expressive face and soulful eyes. But his most limber and powerful tool is his voice.
It can go low in a bone-rattling baritone, like in his Nigerian-accented pimp in Janicza Bravo’s “Zola.” Or it can rise to the warm, erudite rhythm of civil rights leader Bayard Rustin, in “Rustin.” In Steven Spielberg’s “Lincoln,” Domingo’s voice, as a union soldier, is the first thing you hear.
