Review: JAJA'S AFRICAN HAIR BRAIDING, Lyric Hammersmith
Jocelyn Bioh's Tony-winning comedy makes its UK premiere
Jocelyn Bioh's Tony-winning Jaja’s African Hair Braiding made waves when it premiered on Broadway back in 2023. Now reuniting with director Monique Touko following their collaboration on School Girls; or, African Mean Girls Play, Bioh’s latest outing makes its UK premiere at the Lyric Hammersmith.
On a scorching summer's day in 2019 Harlem, everything is seemingly normal at Jaja's African Hair Braiding salon. As its namesake proprietor prepares for her nuptials in order to get a green card, her daughter Marie opens up for the day as the group of fellow west African hair braiders put up with rude walk-ins, allegedly stolen clients and relationship drama.
Bioh's book deftly balances the humour of petty dramas and workplace gossip with poignancy as characters reveal the sacrifices made in pursuit of a modern American Dream. The cultural specificity is rich and vibrant, yet there’s a universality as they explore education, race, class and cross-generational differences. While written in 2019 and premiering on Broadway in 2023, the piece feels more relevant now in light of the US government’s latest crackdowns on immigrants, one twist in particular hitting like a gut punch.
Touko’s direction complements Bioh’s book, and that collaboration runs deep throughout the play. Keeping the 90-minute run-time fresh, the jokes come quick with a sitcom-esque comedic timing yet she allows the emotional moments to breathe with warmth and charm. Even with the braiders’ chalk and cheese personalities, at the end of the day they have a deep care for each other.
Paul Wills’s vibrant set and Dick Straker’s video design both contribute in immersing the audience into the characters’ world. Adorned with photos of braid designs, African flag banners and a TV playing Afrobeats music and Nollywood films, the salon feels like more than just a place of work. It becomes a space for both the hairdressers and clients to be their unadulterated selves, expressing their vulnerabilities, gossiping and dancing.
For a play set in a hair salon, it's no surprise that Cynthia De La Rosa's wig designs become their own character. With all the braiding done live onstage and emphasising fingers, it becomes a true appreciation and celebration for the craft, from 12-hour micro braids to intricate cornrows to Beyoncé's iconic Lemonade braids.
The show's programme and posters around the Lyric Hammersmith summarise each character in three words. In the wrong hands, they could have been paper thin stereotypes, but it’s the ensemble who add depth and charisma both as a unit and individuals. Dolapo Oni captures the pridefulness of long-runner Bea, butting heads with no-nonsense new girl Ndidi (played with confidence by Bola Akeju).
Jadesola Odunjo’s calm and kind-hearted Miriam contrasts her backstory of leaving her marriage in Sierra Leone for a new life, while babirye bukilwa’s Aminata celebrates her heritage with passion and fire. By the time Zainab Jah’s Jaja makes her long-awaited entrance, you understand why her larger than life reputation precedes her.
Beyond the central players, there are delightful instances of multi-roling. Demmy Ladipo in particular shines as the only male member playing roles from a nebbish sock seller trying to win Ndidi’s heart to Aminata’s deadbeat husband James. Renee Bailey (Call the Midwife) adds comedy as various entitled customers from an aggressive nurse who falls asleep throughout her appointment to Marie’s humble bragging classmate.
It would be hard to not fall for the charm of Jaja’s African Hair Braiding. A celebration of femalehood, Black culture and community, it’s filled with a vibrant joy and celebration in part thanks to a cast who share a wonderful chemistry. As client Jennifer says, it’s like being at home for the day watching their 12-hour day unfold.
Jaja’s African Hair Braiding Is at Lyric Hammersmith until 25 April
Photo Credits: Manuel Harlan
