This dazzling world premiere from Jocelyn Bioh welcomes you into Jaja’s bustling hair braiding salon in Harlem where every day, a lively and eclectic group of West African immigrant hair braiders are creating masterpieces on the heads of neighborhood women. During one sweltering summer day, love will blossom, dreams will flourish and secrets will be revealed. The uncertainty of their circumstances simmers below the surface of their lives and when it boils over, it forces this tight-knit community to confront what it means to be an outsider on the edge of the place they call home.
It is promising when a theater set gets its own round of applause, and David Zinn’s vibrant and ingenious imagining for Jaja’s African Hair Braiding (Samuel J. Friedman Theatre, booking to Nov. 5) on Broadway deservedly gets just that when the full interior glory of the imagined hair braiding shop in Harlem just off 125th Street reveals itself. Along with its bustling set of chairs, hair model posters, a Ghanian flag, and much, much Barbie-ish pink, Jocelyn Bioh’s play, set in the pre-pandemic summer of 2019 and produced by Manhattan Theatre Club, has all the energy and rich character interplay that her excellent award-winning 2017 play, School Girls; Or, the African Mean Girls Play, possessed.
Through tensions and extensions, Bioh’s day-in-the-life play never loses its comedic potency, and its ensemble shines throughout. When Jennifer (Rachel Christopher), an aspiring journalist who walks in at open to get micro-braids, everyone deflates with knowingly exhausted chagrin. By the time she leaves, almost at close, she, and us, can hardly believe it’s time to go.
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