‘Jaja’s African Hair Braiding’: Ensemble shines

‘JAJA’S AFRICAN HAIR BRAIDING: Brittany Adebumola & Dominique Thorne. Photo: Matthew Murphy.

JAJA’S AFRICAN HAIR BRAIDING
Written by Jocelyn Bioh
Directed by Whitney White
Through November 19, 2023
Samuel J. Friedman Theatre
261 West 47th Street

(212-239-6200), www.ManhattanTheatreClub.com

By David NouNou

It’s a busy day at Jaja’s African Hair Braiding salon. The events take place in a 12-hour period from opening time at 9am in the morning to 9pm closing time on a very hot day in Harlem. We know the clients and their relentless demands; that’s nothing new. What is new is getting a better understanding of the hardworking women that are on their feet all day long working in this shop. These working women are all different and each one has her own aspirations.

For the most part, nothing special is going on in the shop (except for the unique design of David Zinn’s exceptional authentic set) other than the masterpieces being created. The specialty is the showcasing of the women themselves. They are indeed all talented in hair braiding. There is the usual bickering, the usual dishing, and the uncomfortable awkward situation of (whether you are a woman or a man) going to a hair-dressing salon or a barbershop and deciding you want to change the person who has been doing your hair and the dilemma it presents. That one particular incident is a sidesplitting moment in the play. Amidst all the hilarity, there is a curve ball thrown in to illustrate the complexities that life can present to these women.

Some of these women are African immigrants: Miriam (Brittany Adebumola) is from Sierra Leone. She has been here for a few years to make money and returning back to her country to return here with the daughter she left behind. Owner Jaja (Somi Kakoma) has been here for many years and is getting married today to a white man, and her daughter Marie (Dominique Thorne)— who has been running the shop—has great misgivings about the event. Bea (Zenzi Williams) has been working at Jaja’s for more than 10 years and dreams of opening her own top-notch salon, and she has a meltdown scene with her best friend, Aminata (Nana Mensah), for taking back an unfaithful husband.

Although this is an ensemble piece, there are genuine performances worth noting: Ms. Adebumola is a standout in retelling her life story up to this point, and is simply wonderful. Ms. Williams is indomitable and Ms. Mensah is formidable as the feuding friends. Maechi Aharanwa as Ndidi, the youngest of the stylist, is terrific as the “can’t we all just get along” member of the group. Kalyne Coleman does a mean Beyonce after she gets her hair braided like Miss B. Lakisha May plays three distinct customers to perfection.

The one flaw in the show is Whitney White’s inconsistent direction. She takes time in fleshing out and presenting the characters, but I’m sure that is due to playwright Jocelyn Bioh’s writing. However, Ms. Bioh has packed and tangled so many issues in the last 15 minutes of the play that it is very difficult for Ms. White to properly unravel them and make them fully comprehensible for the audience to digest.

That being said, one must admire the play because it has an important message. It pays homage to all the hardworking immigrants who come here to find a better life. In this case, it is a hair-braiding salon in Harlem. For every immigrant who has come here to perform a service, she or he has a story of their own and deserves the respect of each of their clients.

Edited by Scott Harrah
Published October 6, 2023
Reviewed at October 5, 2023 press performance.

‘JAJA’S AFRICAN HAIR BRAIDING’: Nana Mensah, Dominique Thorne (in background) & Somi Kakoma. Photo: Matthew Murphy.

‘JAJA’S AFRICAN HAIR BRAIDING’: Kalyne Coleman & Maechi Aharanwa. Photo: Matthew Murphy.

‘JAJA’S AFRICAN HAIR BRAIDING’: Rachel Christopher & Zenzi Williams. Photo: Matthew Murphy.

‘JAJA’S AFRICAN HAIR BRAIDING’: Lakisha May (seated) & Nana Mensah (in mirror). Photo: Matthew Murphy.