a lesson in excellence and a phenomenal story rooted in culture and relationships
Jaja’s African Hair Braiding is an incredibly powerful production that exemplifies excellence in every way. From stagecraft to design to music, the show is a masterclass in production quality, a direct example of how passion and storytelling can be seamlessly integrated.
At its heart, the play offers audiences an intimate glimpse into the lives and relationships of women working in a Harlem hair salon. What playwright Jocelyn Bioh does so beautifully is craft small, vivid moments that allow the audience to fall in love with each character. These aren’t huge moments more than it’s in the banter, the humor, the tension, and the honest confessions. Each woman is navigating her own sense of self, her exhaustion, her dreams, yet need and crave another through shared womanhood and connection. As many of the characters are African immigrants, the play also highlights the deep longing for familiarity and sense of home, something they find in each other despite different cultures and opinions.
The world of the play is brought to life with striking authenticity. Set designer Paul Willis creates a Harlem salon that feels lived-in and culturally rich. Adorned with vibrant African flags, posters of intricate hairstyles, and bursts of color, the set pulses with identity and pride.
Director Monique Touko stunningly weaves together every performance element. The movement direction by Kloé Dean and sound by Tony Gale keeps transitions fluid and engaging, drawing the audience in without distraction. Even the act of hair braiding, a pivotal aspect of the story, is executed with such precision that changes happen almost invisibly. Every element of Bioh’s script is handled with such care and detail.
What makes culturally rooted plays so interesting is how differently audiences may connect to them especially those who are unfamiliar with the culture. As the play is grounded in the experiences of African women in America, it still holds a familiarity with the global Black female experience, touching on identity, survival, ambition in ways that feel universal. On press night, the audience was surging with laughter, comedy, joy and excitement despite their personal connections. That’s the beauty of Bioh’s work, it’s just human.
As an ensemble-driven piece, the performances are exceptionally strong. Every actor serves the story with intention and excellence. Jadesola Odunjo brings depth and nuance to Miriam, balancing fear, motherhood, sacrifice, and resilience with remarkable ease. Her arc is handled with sensitivity and strength. Bola Akeju is a commanding presence as Ndidi, embodying both authority and care with a grounded confidence that fills the stage. Renée Bailey delivers sharp comedic timing, bringing levity and energy at just the right moments.
One of the most dynamic relationships in the play is between Bea (Dolapo Oni) and Aminata (Babirye Bukilwa). Their connection feels deeply authentic, two women bound by dependence, and love, yet unafraid to clash. Their exchanges are honest, messy, and refreshingly real, capturing the complexity of true relationships. Across the board, the ensemble operates in harmony, fully inhabiting the same world.
Though the show is relatively short, it leaves a lasting impact. The ending is bittersweet, echoing the realities of immigrant life and the sacrifices that often go unseen. More than anything, this production stands as a testament to womanhood, to African and African American culture, and to the resilience it takes to keep pushing.
If you’re looking for a production that not only tells a story that’s enriched with culture and history but teaches you something about storytelling itself, this is not one to miss.