Jaja’s African Hair Braiding at Lyric Hammersmith Theatre – review

Jocelyn Bioh’s Tony Award-winning Jaja’s African Hair Braiding is a hilarious and moving play, taking place in a bustling hair salon in Harlem. Set over the course of a scorching summer’s day, Marie (Sewa Zamba), a high school graduate and the daughter of salon owner Jaja (Zainab Jah), arrives at the salon with a huge bag of braiding extensions, ready for a day’s work.

Marie is joined by the group of West African braiders: Miriam (Jadesola Odunjo), Aminata (babirye bukilwa), Ndidi (Bola Akeju), and Bea (Dolapo Oni), who is the longest-serving employee. Taking their place at their designated stations, we see customers walking in with their hairstyle inspirations and high expectations. We watch an incredibly funny and authentic depiction of a salon. It’s not only a space for hair braiding, but also a sanctuary for the women to laugh, gossip, share stories and even dance.

Bioh writes with a cultural specificity that humanises the immigrant experience. We learn of the characters’ ambitions, as well as the barriers of trying to adjust in a new country with an increasingly hostile political climate. While this was written in 2019, it feels even more timely given the current rhetoric on immigration.

She crafts characters who feel real and instantly recognisable, especially through their conversations. The dialogue is bold and packed with witty jokes, which balance with the serious moments. The play emphasises that Black women’s experiences are not a monolith. We hear a range of perspectives from the players, their nationalities, upbringings and personal lives.

Reuniting with director Monique Touko, after working together on School Girls; Or, The African Mean Girls Play, Touko once again fills the show with a vibrant, pacy energy. The comedy is not only in the writing, but also within the cast’s physicality – the expressive reactions, interactions and the fun moments of dance between scene transitions. There is a celebration of African culture too, with Afrobeats being played throughout and Nollywood films in the background. Touko creates a joyful and inviting atmosphere, where you can’t help but smile.

The design elements are another standout. Paul Wills’ colourful set design perfectly captures the heart of braiding salons, with posters and trolleys of equipment. Cynthia De La Rosa’s wig designs include a variety of intricate styles – from box braids, to cornrows, to Beyoncé’s iconic Lemonade braids. As the cast style the hair live on stage, it feels like an homage to the artistry. With a digital clock appearing during scene changes, the play shows the endurance involved with hair braiding; customers eat, take naps, and spend an entire day in the chair.

The performances are incredibly entertaining, with the cast displaying wonderful chemistry and comedic timing. Bea and Aminata’s fiery and outspoken personalities contrast with Miriam’s calm energy. The ensemble includes Karene Peter, Dani Moseley, Renee Bailey and Demmy Ladipo, some of whom seamlessly multi-role as demanding customers and entertaining love interests.

When Jaja finally arrives, she makes an extravagant entrance. As she prepares to marry a white American man, she delivers a passionate speech about the sacrifices she made in pursuit of becoming American. Her daughter Marie has her own fears regarding her mother’s stance, showing a clear intergenerational difference on how they view the “American Dream”.

The breadth of topics explored (marriage, finances, education) makes the play feel quite packed with content. A longer runtime may have allowed space for these moments and characters to develop. Nonetheless, Bioh has a talent for creating authentic and culturally specific stories that resonate with all audiences. Jaja’s African Hair Braiding is a celebration of sisterhood, community, and Black culture, and is a beautiful reminder of the safe space salons provide.