Review: Jaja’s African Hair Braiding, Lyric Hammersmith ****

Jajas African Hair Braiding, Lyric Hammersmith Danny-Moseley-Dolapo-Oni-Sewa-Zamba-Jadesola-Odunjo-babirye-bukilwa-Bola-Akeju-Renee-Bailey — The cast of Jaja’s African Hair Braiding, Photo credit: Manuel Harlan

REVIEW: Jaja’s African Hair Braiding, From Harlem to Hammersmith

While Jaja’s African Hair Braiding arrives with a massive Broadway reputation, this London premiere feels more like a reunion of two theatrical powerhouses. Writer Jocelyn Bioh, a quintessential New York voice, and the brilliant British director Monique Touko first caught fire together at the Lyric Hammersmith with the UK premiere of School Girls; Or, The African Mean Girls Play.

That production was so successful it is now returning for a major New York run, and it is fascinating to see the duo back on home turf in W6. Their collaboration has created a genuine creative bridge between Harlem and Hammersmith. Even though Jaja’s is set thousands of miles away in a NYC salon, the energy and sharp wit feel like a natural continuation of the work they started right here in London.

The production is a masterclass in ensemble storytelling, set within the humid, neon-lit confines of a braiding shop. It is also a marvel of technical choreography. Much has been made of the live braiding on stage, and rightfully so. It is a clever, tactile feat that grounds the play in a sensory reality. You can almost smell the hair products and feel the tension of the combs. Central to this magic is the work of Cynthia De La Rosa, whose wig and hair design is nothing short of breath-taking. The hair is as much a character as the women themselves, transitioning before our eyes. The programme notes the braiding training undertaken by the actors.

The play tells a human story of how each braider has ended up in this job. There are different countries, different family needs, and different constraints, but also a shared pride in their work and a hope for the future. The ensemble are uniformly strong and meet the needs of the script with fire and pace. Many were also involved in School Girls, including Bola Akeju and Jadesola Odunjo in Hammersmith and Zainab Jah in New York. Their ensemble is completed by babirye bukilwa, Dolapo Oni, and Sewa Zamba in her professional stage debut.

The character dynamics among the clients are also striking. While one customer (Karene Peter) remains in her chair for a gruelling twelve-hour marathon, two provide a masterclass in versatility (Renee Bailey and Dani Moseley) by transforming into a revolving door of distinct personalities. One performance is so sharp that it elicited audible tuts of disapproval from the audience.

Bioh’s writing excels at creating a collective of women who are unique but deeply united. The braiders quarrel with the sharp intimacy of siblings, bickering over stations and clients. Yet, beneath the banter and the occasional flare of temper, there is an unshakable foundation. They are on each other’s sides when it matters most. This bond is the heartbeat of the show, turning a commercial space into a place of safety.

However, that safety is fragile. While the play is full of joy, the precarious threats of finances and residency cast a long shadow. These references feel even more relevant today than when the play was first conceived. The tenuousness of their American lives creates a high-stakes backdrop to the mundane gossip of the shop. It reminds us that, for these women, community is not just a social outlet; it is a survival mechanism.

Dani Moseley, Photo credit: Manuel Harlan

Jaja's African Hair Braiding, Lyric Hammersmith — Dani Moseley, Photo credit: Manuel Harla

If School Girls was a sharp look at the politics of beauty, Jaja’s is a broader, warmer embrace of the immigrant experience. It is a loud, proud, and beautifully messy slice of life. It is a play that celebrates the labour of Black women while refusing to look away from the systemic pressures that hem them in. For fans of the Bioh and Touko partnership, this is an essential follow-up that proves they are one of the most vital teams in contemporary theatre.

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