“Are we making money today or what?” Wise words from Jaja herself, who welcomes us into her lively, humour-filled hair braiding salon in Harlem during a heatwave.
Now, if you’ve ever been to a hair salon or had your hair braided, then you’ve definitely had the pleasure of listening to the many stories told by talented braiders from all over the world. You also get to witness the highs and lows, the dramas and the jokes, all while patiently seated in your chair for 7+ hours getting your boho braids done.
It’s a real skill, braiding. And while they look beautiful, and for me bring out my inner mermaid, braids are so much more than just aesthetically pleasing.
Braids and cornrows date back thousands of years, with origins in Africa as early as 3000 BCE. They were not just hairstyles, but a way of communicating identity, indicating things like tribe, age, marital status, and social standing. During slavery, braiding also took on additional significance, with some styles used to map escape routes. Alongside this, braids have always been practical, offering a durable, low-maintenance, and protective style. While they are visually beautiful, they also carry a deep cultural and historical significance.
Following its 2023 Broadway run, the Tony award-winning Jaja’s African Hair Braiding, written by Jocelyn Bioh and directed by Monique Touko, tells the story of a group of women from the African diaspora working as stylists in Jaja’s Harlem salon.
Jaja’s daughter, Marie (Sewa Zamba), is a straight A* student who dreams of becoming a writer, but feels the pressure from her mum, Jaja (Zainab Jah), to follow a more traditional academic path, doctor, engineer, you know the vibe, all while working what looks like a full time job as the salon receptionist.
Alongside Marie are four talented braiders. Miriam (Jadesola Odunjo), a young mum who has left her life in Sierra Leone to escape her estranged husband, is sending money home to build a better life for her son. Bea (Dolapo Oni), an older woman longing to own her own salon, is tired of being pushed around and wants control of her life and her clients. Ndidi (Bola Akeju), an ambitious Nigerian who is not only skilled with her hands but also with her acting, is constantly inspired by the Nollywood films she watches. And finally Aminata (Babirye Bukilwa), a hopeless romantic who dreams of winning the lottery and creating a better life for her family.
All these women have a lot on their plates. Between polite clients and difficult ones, each of them must also face their own realities, relationships, finances, and even immigration status. Will they make it to closing time for a moment of peace, or will everything unravel before then? You have to watch it to find out.
Having seen Jocelyn Bioh’s School Girls; or, The African Mean Girls Play at the Lyric a few years back, I was excited to see Jaja’s African Hair Braiding. With some shared cast members and the same director, Monique Touko, I was curious to see if it would feel similar, and it does. Although the story is completely different, the fun, bold and larger than life characters remain. I can see this play, like African Mean Girls, continuing to encourage theatres to platform African stories on stage.
I really enjoyed watching this play. I loved the bright, bold set designed by Paul Wills. The revolving stage cleverly transformed into a hair salon and looked exactly like the ones I used to go to growing up in Harlesden.
Jessica Cabassa designed great costumes for all the women, but the standout had to be Jaja’s wedding dress; it was stunning. I also loved the wigs designed by Cynthia De La Rosa. The Beyoncé Lemonade-inspired braided wig was chef’s kiss. The creative team really did their thing and it showed beautifully on stage.
The acting was another highlight. The genuine connections between the characters felt natural, from the tender moments between Marie and Bea to the built-up frustrations between Ndidi and Bea, which had the audience in tears of laughter. The cast balanced humour and seriousness really well. I particularly loved Bola Akeju’s portrayal of Ndidi, she has such strong stage presence and had me chuckling throughout.
That said, while I thoroughly enjoyed many parts of the play, there were moments where serious themes felt a bit underdeveloped. For example, Jaja’s situation with ICE comes up quite suddenly, without much earlier mention, which made it feel slightly forced. It might have worked better if there were small hints throughout, maybe news reports playing on the TV in the background, so the audience is more aware of that looming reality.
Similarly, Miriam’s relationship storyline, although well-acted, felt like it came out of nowhere. Aside from brief mentions of her trying to lose weight for a man, there was not enough buildup for that reveal to fully land. There were a few moments like this where important storylines felt a bit surface-level, and with more groundwork, they could have been even more impactful.
I also think Jaja would have been more impactful if she had not been seen on stage at all. As she only appears briefly towards the end, keeping her as an unseen presence throughout could have made her feel more powerful, especially considering what happens with her and ICE.
Overall, though, there is no denying that Jaja’s African Hair Braiding is fun, bold and vibrant. It is funny, enlightening and full of joy. It offers representation and invites audiences into a world we rarely get to see on stage.
If you are looking for a fun, lively play, this is definitely one to watch.
Related links
- Jaja’s African Hair Braiding is at Lyric Hammersmith until 25 April 2026
- Interview with Jocelyn Bioh
- Cast announced for the UK premiere of the hit Tony award-winning Broadway play Jaja’s African Hair Braiding
- School Girls; or the African Mean Girls Play – review
