Jaja's African Hair Braiding Review: A Vibrant Celebration of Black Femininity
Jocelyn Bioh's latest theatrical offering, Jaja's African Hair Braiding, currently captivating audiences at the Lyric Hammersmith in London, is a masterful blend of comedy, charisma, and cultural commentary. Following a single day in a Harlem braiding salon, this production radiates with an insuppressible energy that has already dazzled Broadway crowds. Directed by Monique Touko, the play serves as a vibrant exploration of Black femininity, immigration, and the politics of hair, all wrapped in a package of expert comic timing and heartfelt drama.
A Salon Filled with Life and Character
The salon is owned by Jaja, portrayed with compelling presence by Zainab Jah, who is on the cusp of marrying an American to secure her citizenship. In her absence, her daughter Marie, played by Sewa Zamba, takes the reins, navigating her own struggles with immigration status despite a private school education. The ensemble of hairdressers, though broadly drawn, transcends cliché through their lovable, larger-than-life personalities. From the judgmental Bea, brought to life by Dolapo Oni, to the no-nonsense Ndidi of Bola Akeju, and the sweet-natured Miriam of Jadesola Odunjo, each character sweeps the audience into their emotional journeys.
Notably, Aminata, played by Babirye Bukilwa, adds a finger-clickingly funny dimension with her love for Nollywood, the Nigerian film industry. While Inua Ellam's Barber Shop Chronicles examined Black masculinity through hair-cutting, Bioh's work centres femaleness, with a single male actor, Demmy Ladipo, delivering comic cameos as various male figures from sock salesmen to husbands.
Expert Direction and Dynamic Performances
Monique Touko navigates the script with impeccable pace, capturing the drama of the salon across twelve hours without a moment of dullness. The production avoids longueurs even as it depicts the painstaking process of microbraiding, customer disputes, and personal revelations. This is largely due to the charismatic performances and vibrant interludes of music and dance, featuring catchy African pop numbers by artists like Burna Boy and Naira Marley.
The visual and auditory elements are enhanced by Dick Straker's video design on Paul Wills's revolving set, and Cynthia De La Rosa's wig designs add an extra layer of authenticity and flair. Together, these elements create a mood-lifting atmosphere that underscores the play's themes of joy and resilience.
Political Undertones and Social Commentary
Beneath the hijinks and humour, Jaja's African Hair Braiding tells a poignant story of aspiration in the era of Donald Trump, though his name is only whispered in passing. The characters do not merely believe in the American Dream; they desperately need it to be true. Bioh lays bare the gulf between West African immigrants and their middle-class Black American customers, who often display entitlement or offensiveness, unaware of their privilege of citizenship.
The politics of hair and immigration are worn lightly until a sobering ending, yet the play remains a celebration of these women's strength and joy. It is a testament to their resilience and the unacknowledged struggles they face, making it a powerful and energising piece of theatre.
At the Lyric Hammersmith until 25 April, this production stands out as one of the most alive and energised shows currently on stage, offering a unique blend of entertainment and insight into the lives of immigrant women.
