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Robert DoQui papers
566
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Abstract: The collection consists largely of scripts, clippings, correspondence, texts of speeches, and photographs. There are also
minutes of meetings for the Screen Actors Guild Ethnic Minorities Committee and related documents.
Collector:
DoQui, Robert
Dates: 1932-2004
Dates: 1966-2000
Collection number: 566
Collection Size:
4.1 linear ft. of papers
Repository:
Margaret Herrick Library. Academy of Motion Picture Arts and Sciences.
Languages:
Languages represented in the collection:
English
Available by appointment only.
Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all
necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing
materials obtained from the library.
Robert DoQui papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences.
Gift of Robert DoQui, 2004
Collection Scope and Content Summary
The Robert DoQui papers span the years 1932-2004 (bulk 1966-2000) and encompass 4.1 linear feet. The collection consists of
production files, television files, stage files, subject files, oversize files, and one scrapbook.
The production files contain scripts, clippings, call sheets, miscellaneous production material, and correspondence with Robert
Altman, Jules Dassin and others, in connection with such productions as GLAM (1997), GOOD TO GO (1986), NASHVILLE (1975),
ROBOCOP (1987) and ROBOCOP 3 (1993).
The television files contain clippings, publicity, educational material, and correspondence, for a wide range of projects,
from ALMOS’ A MAN, HILL STREET BLUES INSIGHT, ON BEING BLACK, THE OUTER LIMITS and UP AND COMING to THE FALL GUY and FELONY
SQUAD.
The stage files contain scripts, theatrical programs, reviews and articles, for a variety of productions with which DoQui
was involved, some performed on University campuses (“Baby Cakes,” “The People Yes”), some with all-black casts (“Love Letters,”
“The Subject was Roses”).
The subject files contain clippings, correspondence, texts of speeches, and awards; there are minutes of meetings for the
Screen Actors Guild (SAG) Ethnic Minorities Committee and related SAG documents; there are profiles, résumés, and other biographical
items, and material related to the White House, the Smithsonian Institution, and the Academy itself; there is additional production
information in the form of DoQui’s written reminiscences of the production of COFFY and WALKING TALL PART II for the book
“Gods in Polyester”; there is material related to the churches at which he spoke, and the many educational institutions which
he attended, or at which he spoke or taught.
The oversize files contain a pair of pencil renderings of DoQui’s face, done informally by an unknown hand.
The scrapbook contains chiefly photographs: production and publicity photographs from the production THE RED, WHITE AND BLACK
(1970), its cast, including DoQui’s wife Janee Michelle, and its recut version SOUL SOLDIER (1971); photographs and clippings
related to COFFY (1973), DEVIL’S EIGHT (1969), GOOD TO GO (1986), MERCENARY FIGHTERS (aka FREEDOM FIGHTERS, 1988), NASHVILLE
(1975) and ROBOCOP 3 (1993); one photograph related to THE TOILET (1965); photographs and theatrical résumés for DoQui’s children:
Leslie DoQui, Michael R. DoQui, and Robert Diago (DoQui).
Robert DoQui (1934-2008) was born in Stillwater, Oklahoma, the only son of a prizefighter. His grandmother provided music
lessons for him, but his piano teacher was so impressed with his untrained singing voice that she gave him vocal training
and arranged a concert at a local church, where DoQui began his singing career at the age of six. He continued to sing as
he was growing up, and by the time he was in high school he was earning a living singing in Stillwater night clubs. When he
graduated, he received his choice of scholarship: academic, sports, or music. He accepted the music scholarship at Langston
University in Oklahoma and became a member of the school’s popular singing group, “The Langstonaires.” After a four-year stint
in the U. S. Air Force that included service in the Korean War, he went to New York to pursue a career in show business.
After a few years of singing in New York clubs both large and small, DoQui was ready to relocate to Los Angeles in the late
1950s, where he continued singing both professionally (in clubs) and non-professionally (in churches). Trying out for a singing
role in Samuel Goldwyn’s film production of PORGY AND BESS, he encountered casting director Bill Mayberry, who suggested that
he had potential as an actor. The idea intrigued him, so he enrolled in dramatics classes at Los Angeles City College. He
worked at a variety of jobs to support himself and his young family before getting stage roles in such productions as “Macbird!,”
“Madwoman of Chaillot,” “The Rainmaker” and “A Raisin in the Sun.” He continued to take part in theatrical productions that
interested him and eventually moved into directing, which had been a personal goal.
He began appearing in films and television shows in the mid-1960s and soon amassed a long and diverse list of credits. His
last singing appearance on television (SHINDIG!) is contemporaneous with his first television acting appearance (THE OUTER
LIMITS) in 1964. Among the many television series DoQui has made appearances on or played recurring characters in are CAGNEY
& LACEY, THE FUGITIVE, GET SMART, GUNSMOKE, HAPPY DAYS, I DREAM OF JEANNIE, THE JEFFERSONS, THE MAN FROM U.N.C.L.E., MAUDE,
MISSION: IMPOSSIBLE, NYPD BLUE, PICKET FENCES, and SANFORD AND SON. He performed in countless commercials, appeared as a “Klingon”
on STAR TREK: DEEP SPACE NINE and provided the voice of “Pablo Robertson” for two separate animated series: HARLEM GLOBE TROTTERS
and THE NEW SCOOBY-DOO MOVIES. DoQui appeared as himself toward the end of his life, discussing the acting profession in the
television documentary “The Truth, the Pain, the Sacrifice: An Actor’s Reality.”
After a series of minor parts in major films such as THE CINCINNATI KID (1965), FITZWILLY (1967) and THE FORTUNE COOKIE (1966),
DoQui succeeded in establishing himself as a dependable supporting player with a tendency to portray characters with a great
deal of conviction, in motion pictures as diverse as COFFY (1973), GUYANA: CULT OF THE DAMNED (1979), I'M DANCING AS FAST
AS I CAN (1982) and MIRACLE MILE (1988). He appeared in three Robert Altman films–BUFFALO BILL AND THE INDIANS, OR SITTING
BULL'S HISTORY LESSON (1976), NASHVILLE (1975) and SHORT CUTS (1993)–and may have been best known to audiences as the no-nonsense
Sergeant Warren Reed in all three of the original ROBOCOP movies (1987, 1990 and 1993). DoQui served for ten years on the
board of directors of the Screen Actors Guild and was the first chairman of its Ethnic Minorities Committee. He also appeared
as counselor and motivational speaker at schools and churches.
1. Production files; 2. Television files; 3. Stage files, subseries A-B as follows: A. Produced; B. Unproduced; 4. Subject
files; 5 Oversize; 6. Scrapbooks
DoQui, Robert
Actors