Jocelyn Bioh’s Tony Award-winning play ‘Jaja’s African Hair Braiding’ has hopped across the pond to the Lyric Hammersmith Theatre for its UK premiere, and I was lucky enough to attend last night as a guest. Set in a busy Harlem salon, the play takes place over the course of one day. It is rare to find a show that ticks so many boxes – I laughed out loud, applauded in agreement and was left shocked by an unexpected twist. The show is as comedic as it is political, and deftly handles humour with a timely dose of commentary about the immigrant experience.
As mentioned, the play is anchored in the aforementioned salon, an intimate set designed by Paul Wills. Although I have not myself visited a braiding salon, the set looks familiar and lived in and includes photos of different styles plastered across the walls, which is universal to any hair-related establishment. What brings the shop to life is the dynamic women who inhabit it. Braiders Miriam (Jadesola Odunjo), Amanita (babirye bukilwa), Ndidi (Bola Akeju) and Bea (Dolapo Oni), and owner Jaja and daughter Marie (Zainab Jah and Sewa Zamba respectively). It is hard to pick a standout performance here – all characters get their moment. Whether it’s Bea ranting about Jaja, Miriam talking about her lost love, or Amanita dealing with a troublesome customer – all women get a chance to shine. All characters have a shared heritage and culture, but all of the actors ensure that their characters are uniquely vibrant and individual. Nobody fades away into the background. I feel sometimes that can be a danger with fly on the wall shows – they can drift too far into naturalism, losing a bit of theatrical flair. Not here – the actors, and Bioh’s writing, ensure enough is happening in the shop to keep you engaged and invested.
This early investment is important, especially considering the plays political themes. Whilst always there, simmering away, they come more to the fore with the appearance of Jaja, whose conversation frankly states that there are different rules for them as women, especially women of colour, compared to their Caucasian counterparts. It feels incredibly true, and what is so clever about it is that there is no risk of alienating the audience with this discourse, as Bioh has, as she explained in the following Q and A, showed us the ‘people behind the policies’ – the people who are trying to live honestly, and contribute to society, but are constrained by intolerant policies.
Seeing these women, who have laughed and bickered with each other, band together to show solidarity and strength at the end of the play is incredibly powerful and is an ode to all of the women of colour who have made sacrifices for their children. It also allows the actors to showcase their range, as the play unexpectedly veers from comedy to impending tragedy. It is brilliant to see such a show on stage, with a packed audience, and Bioh was right in noting that, when it comes to the diversity debate, theatre feels ahead of television.
I will say, as a South Asian man born in the UK, some references probably did go over my head, but the play also left me with a better understanding of braiding, and the work that goes into it… especially micros. The show is not condescending, or preachy, it is welcoming, and it is through the characters that we can learn and appreciate their experiences, and as Bioh intended, see the ‘people behind the policies.’
5/5
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Photography by Manuel Harlan
‘Jaja’s African Hair Braiding’ is playing at the Lyric Hammersmith Theatre until the 25th of April
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