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Review: Jaja's African Hair Braiding (Lyric Hammersmith Theatre)

Review by Sam Waite

 

⭐️⭐️⭐️⭐️

 

There’s a specific kind of joy that comes from a workplace comedy, particularly one where each character is so immediately familiar and relatable, and whose backstory we can piece together so clearly. That joyous specificity is abundant in Jaja’s African Hair Braiding, influenced by writer Jocelyn Bioh’s countless hours spent in hair-braiding shops, and making its UK debut at the Lyric Hammersmith Theatre.

 


The show begins at 9am on a typical day for the titular shop, with the namesake’s daughter Marie arriving flustered from a difficult start to the day, and the small team of braiders arriving one by one. As a long day of work goes on, the women chat, dance, criticise the men in their lives, and get into some heated discussions over the supposed stealing of customers, all while Marie tries to keep things running smoothly as Jaja takes the day off to marry the unseen Steven – and to finally become a US citizen.

 

While the workplace shenanigans are the main appeal of Jaja’s African Hair Braiding the shop itself is also an immediate winner. With the set on a revolve to allow scenes to transition smoothly from the Harlem storefront to the bright interior, Paul Wills’ design feels not only fresh and attractive, but lived-in and authentic to the characters and set-up. Jaja’s shop is characterful from its gaudy but appealing floor tiles to its endless array of hair products and example photos plastered across the windows, and this combination of instant appeal and fine detail adds to the bedded-in feeling of the shop and its staff.

 


A vibrant, rotating set of supporting characters are brought fully to life by a trio of performers, with Demmy Lapido cycling through salesmen in addition to an unforgettable appearance as one braider’s confident but clearly deadbeat husband. The character of James appears only in one scene, but Lapido brings a magnetic energy that helps us understand how Aminata is once again suckered into forgiveness. Doing stellar work, Renee Bailey and Dani Moseley deliver three distinct portrayals each, doing a wonderful job as the shop’s clientele for the day. Despite six roles divided between the two performers, every customer is fully distinguished and endlessly entertaining in her own right, with new shades of comedy accompanying each introduction.

 

Of course, it makes the cast’s job that bit easier that Bioh has crafted such rich dynamic roles across the board. Each character’s emotional journey is clearly laid out and a total joy to follow, all pulling towards the classic sitcom staple of all being back to square one by tomorrow. Perhaps the only real criticism of Bioh’s characterful, engrossing script is that the comparative lack of stakes falls by the wayside in the final scene – genuine stakes develop late in the story, creating both a sudden change of pace and undercutting the slice of life qualities of the earlier scenes.

 


Still, jarring as this may be it isn’t entirely unwelcome, with Bioh a talented enough writer to navigate this shift without disrupting too much of her carefully laid groundwork. Director Monique Touko seems well-matched to Bioh’s work, unsurprising given her having directed Bioh’s Schoolgirls at the same venue, showing a firm command of the carefully balanced ensemble work and ensuring that the endless parade of standout moments continue to wow, where such a collection of back-to-back wow moments could grow tiresome in less capable hands.

 

Marie, the awkward but endearing teenage daughter of Jaja, is played by a winning Sewa Zamba, who does fine work throughout and brings a grounded quality to the grand personalities around her. A similar grace is brought by Karene Peter, whose Jennifer is an all-day customer, her persona gentle and her long micro-braids a constant source of work. Jaja herself appears only fleetingly, but Zainab Jah makes a strong impression, a domineering but warm energy permeating every second of her few minutes on stage.


 

Each adorned in finely-chosen clothes informative of their characters, a show of excellent work by costume designer Jessica Cabassa, the staff of Jaja’s African Hair Braiding each turn in sharp impactful performances. From Dolapo Oni’s no-nonsense, old-fashioned Bea to Jadesola Odunjo’s sweet, never-complaining Miriam, babirye bukilwa’s firey Aminata to Bola Akeju’s youthful, outspoken Ndidi, this fine ensemble are on excellent form, and each is consistently entertaining. Would it not take up an inordinate amount of space, know truly that I could speak at length about each of these performers’ pitch-perfect, gloriously drawn portrayals.

 

Given the nature of this play, it would be a travesty not to acknowledge the fine hair and makeup work, with Cynthia De La Rosa’s varied, always-impressive work as wigs, hair and make-up designer being so central to the production. De La Rosa brings to life a fabulous array of styles, adding to the distinguished quality of even the smallest role, and ensures that the visual identity of Jaja’s African Hair Braiding is every bit as endearing as its narrative.

 


Jaja’s African Hair Braiding shows a rich understanding of why workplace comedies can so often work so well. These are ordinary people, people we could come across at any moment and may well already know someone painfully similar to them, but the mix of specificity and broadness in their personas makes them easy to relate to, and difficult not to connect with. With a wonderful ensemble cast and a truly striking visual identity, this UK premiere proves again Jocelyn Bioh’s unique voice as a playwright, and will undoubtedly enchant all who attend.

 

Jaja’s African Hair Braiding plays at the Lyric Hammersmith Theatre until April 25th 

 

 

Photos by Manuel Harlan

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