Jaja's African Hair Braiding Review: A Vibrant Celebration of Black Femininity
Jocelyn Bioh's latest theatrical triumph, Jaja's African Hair Braiding, is a vibrant and energetic comedy that captures a day in the life of a Harlem braiding salon. Following the success of her previous work, School Girls; Or, The African Mean Girls Play, Bioh once again teams up with director Monique Touko to deliver a production that has already dazzled Broadway audiences and now graces the Lyric Hammersmith in London.
A Salon Filled with Life and Laughter
The play centers on Jaja, portrayed with compelling presence by Zainab Jah, the salon owner who is getting married to an American citizen to secure her own citizenship. In her absence, her daughter Marie, played by Sewa Zamba, manages the salon. Marie's struggle with immigration status, despite her private education, adds a layer of poignant reality to the narrative.
The salon is populated by an assortment of bold and charismatic hairdressers, each with their own distinct personality. From the judgmental old-timer Bea, brought to life by Dolapo Oni, to the no-nonsense Ndidi, played by Bola Akeju, and the sweet-natured Miriam, portrayed by Jadesola Odunjo, these characters might seem broadly drawn on paper. However, they are infused with such warmth and larger-than-life energy that they become utterly lovable, evoking the charm of classic vaudeville while navigating emotional highs and lows.
Expert Comic Timing and Cultural Depth
Director Monique Touko masterfully navigates the script, which spans twelve hours in the salon, capturing moments of tension, joy, and the tedious process of microbraiding with expert comic timing. The play avoids any sense of longueur, thanks to charismatic performances and lively interludes of music and dance. The soundtrack features catchy African pop numbers by artists like Burna Boy and Naira Marley, complemented by stunning visual effects and wigs designed by Cynthia De La Rosa.
While Inua Ellam's Barber Shop Chronicles explored Black masculinity through hair-cutting, Bioh's play centers on femaleness, with a single male actor, Demmy Ladipo, playing various cameo roles. This focus allows for a rich exploration of Black femininity, where hair becomes a political and personal statement, encapsulated in the refrain, "Don't touch my hair."
Underlying Politics and Social Commentary
Beneath the humor and hijinks, Jaja's African Hair Braiding is a story about the American Dream in the era of Donald Trump, though his name is only whispered in passing. The characters, all west African immigrants, do not merely believe in this dream; they need it to be true for their survival. The play lays bare the gulf between these immigrants and their middle-class Black American customers, who often exhibit entitlement and unacknowledged privilege of citizenship.
The politics of hair and immigration are worn lightly throughout most of the play, but the ending delivers a sobering punch. Yet, it remains a celebration of the strength and joy of these women, making it one of the most alive and energised productions in contemporary theatre.
At the Lyric Hammersmith in London until 25 April, this play is a must-see for its crowd-pleasing energy, expert comic timing, and deep cultural resonance.
