Review: JAJA'S AFRICAN HAIR BRAIDING at Arena Stage

JAJA’S AFRICAN HAIR BRAIDING tells the story of a day in the life of a hair braiding salon in the heart of Harlem on a scorching summer’s day in 2019. It explores the hair salon as the epicenter of black life and culture - a meeting spot to trade stories, catch up on gossip, and connect with neighbors. The hair salon creates a sense of belonging to the employees and customers who populate the salon, most of whom are West African immigrants. Therefore, the play shows the hair salon as a vital lifeline for the immigrant communities of Harlem and is perhaps a symbol of how these communities across the country create their place in the United States.

Set against the backdrop of Donald Trump’s presidency and his accompanying xenophobic and racist rhetoric, the play additionally explores how these immigrant communities live in fear of deportation, face daily discrimination, and journey through the daunting challenge of obtaining permanent residency or citizenship. Despite tackling some serious and politically charged topics, playwright Jocelyn Bioh infuses the narrative with a jovial tone, which strikes a great balance between the light and the dark. 

The play begins with Miriam (Bisserat Tseggai), an employee from Sierra Leone, waiting on a tardy Marie (Jordan Rice) to open the salon. Marie, the daughter of the shop owner Jaja, symbolizes quasi-first-generation Americans who, although born in another country, came to the U.S. at such a young age that they are culturally American. Marie, who came to the States with her mother Jaja at age four, knows no one in her home country or the native language, making the threat of deportation especially cruel and destabilizing.

As the other salon employees arrive, we are introduced to a delightful array of personalities, quirks, and co-worker rivalries. Jaja’s longtime friend and co-worker, Bea (Awa Sal Secka), and her confidant Aminata (Tiffany Renee Johnson) form a gossipy duo, providing several memorable comedic moments. Bea has a growing tension with newcomer Ndidi (Aisha Sougou), who is renting a chair at Jaja’s while her own shop is being renovated. Bea’s longtime customers are secretly (and sometimes not so secretly) becoming Ndidi’s clients, forcing Bea to confront the reality that she may have lost a step over time.

Alongside this tension is the sincere and heartwarming story of Miriam, who has left her husband and child in Sierra Leone in search of a better life. Her troubled marriage is revealed through conversations with her client, Jennifer (Mia Ellis), who requests a particularly complex braid that will keep her in the chair for the entire day. 

Jennifer is a terrific representation of us, the audience. She is a fly on the wall to the salon’s reality show-like antics, and she has the facial expressions and reactions that match all of us watching this unfold. It’s a delightful performance by Ellis and a creative access point that puts the audience right into the action.

The play also features a dizzying array of characters played by Melaine Brezill, Yao Dogbe, and Colby N. Muhammad. These actors showcase their comedic talents as various customers and neighborhood personalities who come and go throughout the day, each bringing unique life to their many roles. From a demanding “Karen” to a sock hustler to a busy career woman, it’s always a treat to wonder who will come through the door next.

Interestingly, Jaja, the namesake of the play, doesn’t appear until the final quarter of the play. It’s the day of her wedding to a white man named Steve that has made this day abuzz with anticipation, but the shop employees are distrustful and wary of the groom-to-be. There’s a suspicion not only of Steve and his intentions but also of Jaja’s general trust in white people that has raised red flags among the others. Things don’t go quite as planned, leaving Jaja’s family and friends to pick up the pieces as the play reaches its conclusion. 

JAJA’S AFRICAN HAIR BRAIDING is yet another success in the impressive career of playwright Jocelyn Bioh. Known for centering contemporary West African stories and people, Bioh excels at making difficult topics relatable through a unique balance of seriousness and humor. This ability is arguably her greatest strength as a writer. Despite focusing on characters who may be unfamiliar to white audiences, Bioh’s work possesses a universality that allows everyone to see themselves in her characters and themes, regardless of skin color, country of origin, or native language.

JAJA’S AFRICAN HAIR BRAIDING further cements Bioh’s status as one of contemporary American theatre’s brightest stars. Each new title elevates her reputation, showcasing her unique talent. In JAJA’S, she deftly tackles themes of immigration, family, and what it means to be American, engaging the audience from start to finish.

As Arena Stage Literary Manager Otis Ramsey-Zöe notes in the program, this is a three-pronged story: a hair story, a history, and a here story. It is a play about black hairstyles that carry deeper meanings beyond physical appearance. As he notes, “all black hairstyles are political.” It is also a story of black history - not just of Harlem as a historical center of black life in New York City, but also of the many black immigrants who have found a new home in uptown Manhattan. Finally, it is a here story, about each inhabitant of this country who, either themselves or through their ancestors, came from someplace else. As Jaja states towards the play’s finale, “Today I will be on their level…I’m here.” It is a story of immigrants, the backbone of the United States both in the past and present, claiming their space despite a staggering number of obstacles.

Arena Stage has assembled an excellent ensemble of performers for the inaugural production of the season, the first exclusively curated by Artistic Director Hana S. Sharif. Jordan Rice stands out as the young and hopeful Marie, who essentially keeps her mother’s shop running throughout the play. Her role as the de facto shop manager requires sacrifices in other areas of her life, particularly her education beyond high school.

Awa Sal Secka, a powerhouse of DC theatre, forms a fantastic duo with Tiffany Renee Johnson as Aminata. The two play off each other exceptionally well and deliver fine performances individually. Aisha Sougou is terrific as the newcomer Ndidi, and Bisserat Tseggai offers a delightful and nuanced portrayal of the multi-faceted Miriam.

Though her time on stage is brief, Victoire Charles is a commanding presence as Jaja. Her entrance signals that she is worth the wait, and Charles makes the most of her brief but impactful role.

A special shoutout goes to Onye Eme-Akwari and Morgan Scott, who portray the Nollywood Dreams actors on the shop’s television set. It’s delightful to see Bioh create her own multiverse with a nod to her previous work, NOLLYWOOD DREAMS. One hopes that Bioh will further expand the “Bioh-verse,” and create more cheeky nods to her other excellent plays in future works.

JAJA’S AFRICAN HAIR BRAIDING is expertly directed by Whitney White, a shining star of contemporary American theatre who also directed the play on Broadway. DC audiences should be familiar with the Obie and Lilly Award-winning artist, who previously directed THE AMEN CORNER and performed in MACBETH IN STRIDE, both at DC’s Shakespeare Theatre Company. White skillfully guides this stellar company through the play’s light and dark moments, capturing its nuanced story. Her direction brings authenticity to the big, bold comedy, holding the audience’s attention even through a major tonal shift in the final 15 minutes.

David Zinn’s set design enhances White’s vision with a colorful salon interior that perfectly captures the vibe of a central Harlem shop. As a former Harlem resident, I can attest to the authenticity of this depiction. However, it’s the work of Hair and Wig Designer Nikiya Mathis that truly stands out. Mathis, the first wig designer to receive a special Tony Award for her work on the Broadway production, showcases her award-winning artistry prominently at Arena Stage. Her work is arguably worth the price of admission itself.

Other members of the creative team include Dede Ayite (Costume Designer), Jiyoun Chang (Lighting Designer), Justin Ellington (Original Music and Sound Designer), Stefania Bubarella (Video Designer), Manna-Symone Middlebrooks (Associate Director), Yetunde Felix-Ukwu (Dialect and Vocal Coach), Mandisa Reed (Stage Manager), and Jamie Berry (Assistant Stage Manager). New York Casting was by Erica Hart, Kelly Gillespie, and David Caparelliotis. 

JAJA’S AFRICAN HAIR BRAIDING is a stellar start for the storied Arena Stage’s 2024-2025 season with a heartwarming and raucously funny tale. The ensemble masterfully handles the piece and provides laughs, gasps, and emotional connection in spades. If this is a preview of what is to come this season in the DMV theatre scene, we should be excited for what’s ahead.

JAJA’S AFRICAN HAIR BRAIDING runs from September 6 - October 13, 2024 at Arena Stage’s Kreeger Theatre. This is the first leg of a three-part regional theatre tour, and the show will play the Berkely Repertory Theatre and Chicago Shakespeare Theater following its DC run. The play runs approximately 1 hour, 40 minutes with no intermission.

Photo Credit: (from L to R) Awa Sal Secka (Bea), Colby N. Muhammad (Vanessa/Sheila/Radia), Melanie Brezill (Michelle/Chrissy/LaNiece), Aisha Sougou (Ndidi), Victoire Charles (Jaja), Bisserat Tseggai (Miriam), Jordan Rice (Marie), Tiffany Renee Johnson (Aminata), Mia Ellis (Jennifer). Photography by T. Charles Erickson Photography. 

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