Hair braiding is both a way to express cultural heritage and a fashion statement. Braids are not just a style, but considered a form of art. Corn rows – hair braided very close to the scalp that creates continuous, raised rows – may be the most popular, but there are also micro braids, box braids, Ghana braids, Senegalese twists, yarn twists… Dozens of configurations are displayed and labeled on a scrim as we enter the theater. Onstage, styles are executed in real time – fascinating to watch – on prepared wigs. (Normally braiding takes much longer.) Cast members practiced during rehearsals. David Zinn’s set, an expansive, wonderfully detailed salon, is entered past a rolled up grill.
Jennifer (Rachel Christopher), Bea (Zenzi Williams)
It’s July, 2019, and HOT in Harlem. Jaja (Somi Kakoma), whom we don’t meet till 90 percent of the way through the piece, has left the running of her salon to capable college age daughter, Marie (Dominique Thorne) while she plans her wedding to a White man of whom everyone is suspicious. All her stylists are West African immigrants. Bea (Zenzi Williams) planned to go into business with Jaja but couldn’t come up with the money in time. She’s forever talking about having her own shop. A big, territorial personality, warm but prickly.
Kalyne Coleman (Chrissy), Maechi Aharanwa (Ndidi)
Miriam (Brittany Adebumola), the newest arrival, is a sweet young woman with hidden pluck who plans to go back to Sierra Leone and bring her child to the U.S. The baby’s father is there. She has dreams. Ndidi (Maechi Aharanwa) has a temporary chair at Jaja’s while her own establishment is rebuilt from a fire. She’s clearly expert and knows it. A high spirited professional. Aminata (Nana Mensah) is married to a ne’er do well her friend Bea tries to get her to leave. She’s quiet, competent, and stuck on him.
Michael Oloyede , Nana Mensah (Aminata)
The first client we meet is Jennifer (Rachel Christopher) who endures the almost day long process of getting extremely long micro braids woven into her short hair. She’s friendly and patient, chatting with Miriam about their lives. Two mercurial actresses each play three clients: Kalyne Coleman inhabits Chrissy (an infectiously ebullient woman who wants to look like Beyoncé); Michelle (mortified at being caught changing allegiance from Bea to Ndidi); and, LaNiece. Lakisha May plays Vanessa (who arrives with her own hair tools and promptly passes out), Radia, and Sheila (a fast-talking executive who knows what she wants). Michael Oloyede acts every male in the piece – friends, peddlers, a husband – with veracity.
Nana Mensah (Aminata), Lakisha May (Vanessa), Maechi Aharanwa (Ndidi), Kalyne Coleman (Michelle)
When Jaja arrives in extravagant white splendor, the salon warily celebrates. She loves her fiancé, but, as they say, it’s just as easy to cry on a silk pillow. Ten years ago, she took a risk the marriage is intended to rectify. Disaster strikes. The women come together. This is what it’s like to live precariously.
The ensemble cast is excellent with Brittany Adebumola a stand out.
Director Whitney White keeps things moving with believable small, business and women who dance even when they don’t. Movement sparkles.
Dede Ayite’s costumes are simply wonderful; colorful, imaginative, apt.
Hair and wig design by Nikiya Mathis is realistic and artful.
Dialect and vocal coach Dawn-Elin Fraser distinguishes between origin, but in some cases of presumed accuracy, loses intelligibility.
Opening: Brittany Adebumola (Miriam), Dominique Thorne (Marie)
Photos by Matthew Murphy
Manhattan Theatre Club presents
JaJa’s African Hair Braiding by Jocelyn Bioh
Directed by Whitney White
Samuel J. Friedman Theatre
261 West 47th Street
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