Kenny Leon’s True Colors Theatre Company’s JaJa’s African Hair Braiding, written by Jocelyn Bioh, and directed by Ibi Owolabi, is a powerful work that captures pieces of African immigrant life through four employees of JaJa, the Senegalese owner of an African hair braiding salon in Harlem, her daughter Marie, a recent high school graduate who helps her mother’s store on the day of her court wedding which would—so Marie has heard from her mother—secure their immigration status, and JaJa’s employees from different parts of West Africa. Different aspects ofJ JaJa, Marie, and the braiders’ life histories and stories come out during the interaction between themselves as well as with their customers who are African Americans.
Bea, the oldest, seems to have lost her “touch” with contemporary styles, losing her customers to Nididi. Miriam, the newest employee from Sierra Leone, has patience to tackle micro braiding. Aminata has been keeping an on-and-off relationship with her husband, whom she often kicks out of her apartment. Ndidi, a hair braider with ambition, ambition, and an “attitude,” gets into confrontation with Bea all the time.
Like Greek tragedies, the time frame is within 24 hours—actually about 12 hours—and the duration of the stage time (90 mins) is spent to reveal the circumstances of the characters till crucial off-stage action happens. Aba Arthur’s stunning entrance and “parade” as JaJa is functioned as a surprise, embodying the celebration of her tenacity and caring—taking new immigrants under her wings. This celebratory moment adds sadder and heavier weight to the very last incident. This off-stage incident, which is beyond anyone’s control, gives the four braiders a new opportunity for the women to unite and support Marie.
Scenic designer Mariah and Isabel Curly-Clay built a realistic salon with beauty-salon chairs, cabinets, and the walls “ornamented” with pictures of various hair braiding models, emphasizing the workers’ skills, artistry, and accomplishments. To reflect a Senegalese flag on the wall, the upper section of the wall is painted yellow, while the middle part’s color is pink (rather than red) and all of the cabinets are painted green.
Costume designer Jarrod Barnes designed and prepared outfits for each character to reflect their origins, personalities, and/or preferences. Bea is dressed in a traditional West African dashiki two-piece dress, and Ndidi wears golden tan colored pants with a colorful top. Miriam, who is trying to save money to send for her daughter living in Sierra Leone, wears a slightly outdated dress, perhaps purchased at a second-hand store. Miriam’s attire contrasts with that of her client Jennifer, who dresses like a chic businesswoman.
Lighting designer Toni Sterling provides bright lights for the salon while subtly controlling the intensity and tone to enhance the atmosphere. The transitions in a dimly lit space are smoothly done by keeping some characters on stage. Sound designer Jeremiah Davison prepared various Afro-fusion music pieces to keep the show’s rhythm live. Davison also contributed to smooth transitions, and his audio manipulation allows the sound to “come out” of the wall-mounted TV. On and off TV “shows”—from sit-coms, soap opera, to game shows—illuminate the “local culture,” particularly as reflected in the small space of the hair braiding salon.
The performers portray their characters with their true understanding of and compassion for their characters. Director Owolabi excels in unexpected “changes” in the performer/character’s action, keeping the audience’s attention and interest with much humor.
Veanna Black’s Jennifer, a customer to get micro-braids, stays in the salon for 12 hours, starting to understand her privileged position as she listens to Marie’s story. Paris Cymone and Marita A. McKee brilliantly portray multiple customers, representing different “types” by displaying bits and pieces of their life stories as they converse with their braiders. Dane Troy II, the sole male performer in the show, also portrays multiple characters from a street vendor, Aminata’s husband, to Marie’s best friend, bringing the off stage “street scenes” to the salon. Aba Arthur’s “Godot” character (who appears) JaJa, literally lights up the entire space as she enters, parading her statuesque presence accentuated by Arthur’s intentional bodyweight shifts, and mannerism. What the audience enjoys the most are the performers’ rich facial expressions and excellent gestures that speak volumes while others continue to talk, obliviously to their reactions.
Asha Basha Duniani as Marie literally “grows up” to become an adult within the 12-hour time frame. Zora Umeadi convincingly illuminates her character Bea’s vulnerability as a braider who lets her skills rust and is not able to be competitive with other braiders, particularly Ndidi, compellingly portrayed by Ernaisja Curry. Adetinpo Thomas lively and animatedly tells her story about her ex-husband, boyfriend, and daughter in Sierra Leone.
The beauty salons are community-gathering, information-exchange, mutual support spaces in the Black community, though, as this show underscores, competitions, jealousy, and conflicts are also rampant. The beauty salon is equivalent to the “church” for the women. The play is subtly packed with criticism of the current administration’s brutal and inhumane policies imposed upon immigrants—especially non-white immigrants.
In the face of the policies and actions (including arrests and deportations), people who came to the United States under the Deferred Action for Childhood Arrivals (DACA), like the character of Marie, must confront millions of challenges and dangers. The audience witnesses that even her fabulous, courageous, and practical mother—one of the leaders of the community—cannot protect her daughter. Yet, what the audience sees and appreciates is powerful resistance that women are able to form by gathering all of the resources to strategize as a united front. JaJa’s African Hair Braiding provides that space, where courageous women braid not only hair, but different historical, cultural, and social threads to weave a strong tapestry to fight back.
Photos by Eley Photo
The Performers and their Characters:
Aba Arthur as “JaJa”
Asha Basha Duniani as “Marie”
Zora Umeadi as “Bea”
Shakirah Demesier as “Aminata”
Adetinpo Thomas as “Miriam”
Ernaisja Curry as “Ndidi”
Veanna Black as “Jennifer”
Paris Cymone as “Vanessa, Radia, Shelia”
Dane Troy II as“James, Sock Man, Jewelry Man, DVD Man”
Marita A. McKee as “Michelle, Chrissy, Laniece”
Through March 9, 2025
