Jaja's African Hair Braiding, SpeakEasy Stage Company, Roberts Studio, Calderwood Pavilion, Boston, through May 31st. 617-933-8600 or SpeakEasyStage.com
If you think a hair braiding salon is like any other, think again. As New York City born and bred playwright Jocelyn Bioh-who has been getting her hair braided since the age of four — could tell you, hair braiding is uniquely demanding and varied. Expert braiders often stand for hours as they cut, braid, dye, twist and wig the hair of customers whose needs are often as varied as their personalities. All of these fascinating factors come into play in Bioh's acclaimed 2019 play "Jaja's African Hair Braiding" (2024 Tony Award nomination). SpeakEasy Stage Company-already familiar with Bioh's work (having presented an exuberant 2019 production of her earlier "School Girls: Or, The African Mean Girls Play"), is bringing high style to its New England premiere of this informative and timely play.
Set in the title hair braiding shop in Harlem off of 125th Street, Bioh's initially disarming play opens on a hot 2019 summer day with Jaja's very capable 18-year-old daughter Marie managing the salon in the absence of her mother. Stretching stage-wide in Janie E. Howland's vivid and well detailed set, the salon includes hair braiders with diverse ethnic backgrounds hailing from West Africa. Jaja herself is a Senegalese immigrant about to marry her white boyfriend in order to obtain a green card and provide Marie-a Dreamer who arrived in America at the age of four-with an opportunity for a better life. A high school valedictorian and a would-be writer, Marie experiences a kind of unusual coming of age as she tries to balance her responsibilities at the salon and her own aspirations.
During the busy but never boring day of Bioh's play, audiences will be both entertained and sometimes very moved by the conflicts and interactions between braiders and their customers. Among the braiders are two veteran stylists-a gossipy and very outspoken Ghanaian braider named Bea and her emotionally torn Senegalese friend Aminata-who is finding it difficult to deal with an unreliable husband. Equally frustrated Miriam-a quiet braider from Sierra Leone-hopes to bring her young son to America. In some ways the most striking stylist is fast-working and a very in demand young Nigerian named Ndidi. Adding to the comic moments as fussy customers annoy some of the braiders-with one fussy client bringing her own comb and oil-are sequences involving sock and jewelry vendors. As Jaja arrives in the future, a foreshadowed problem takes center stage impacting the immigrant women at the salon.
Under the sharp direction of Summer L. Williams, a first-rate cast achieves the striking balance of humorous moments and serious implications with riveting results. Dru Sky Berrian is commandingly poignant as Marie moves from early uncertainty to great eventual inner strength. Crystin Gilmore has scene-stealing persuasiveness in resenting Ndidi's seeming usurping of her position as a star stylist. Kwezi Shongwe captures Aminata's uncommon sensitivity-especially as she supports Bea in her moments of dissatisfaction. Catia has all of Ndidi's fire and confidence. MarHadoo Effeh finds all of Miriam's complicated thinking. MaConnia Chesser makes the most of Jaja's eye-catching entrance-kudos to costume designer Danielle Domingue Sumi. Joshua Olumide catches all the elusiveness of James-Aminata's husband-and moves easily and convincingly between the vendors.
On Broadway, "Jaja's African Hair Braiding" was given a special Tony Award for hair and wig design. SpeakEasy Stage Company's high caliber styling not only does honor to the rich history of black hair but also brings crucial attention to the rightful place of immigrant accomplishment in America.