By Liz Eichler
When the news of the world weighs heavy, art can hit harder. My admiration for Jaja’s African Hair Braiding, now at Ensemble Theatre Cincinnati, is intertwined with the growing concern and urgency from today’s headlines. Tony-nominated Ghanaian American Jocelyn Bioh’s brilliant script and Ensemble’s compassionate staging remind us that every immigration story is layered with sacrifice, resilience, and humanity—and sometimes, hair extensions.
The Story of Jaja’s African Hair Braiding
Set in Harlem on a scorching July day in 2019, the play focuses on a small shop hidden under an overpass. Owned by Jaja, an undocumented immigrant preparing to marry for citizenship despite her daughter’s misgivings. The salon becomes a sanctuary of sisterhood. Though Jaja remains absent for most of the show, we see she has built a circle of support among both stylists and clients. Each woman chases her own version of the American dream—some escaping conflict, others supporting families back home or raising children they rarely see.
Jaja’s daughter Marie, brought to the U.S. at age four, has just graduated as valedictorian of her private school. She tells friends she’s taking a “gap year,” but the audience knows the truth: immigration paperwork makes college feel impossibly out of reach. The workers braid hair for Americans (mostly of African heritage) seeking a no-hassle lifestyle or the looks of icons from Bo Derek to Beyoncé.
Vibrant Ensemble
This production soars due to its interwoven ensemble cast, where every performer brings specificity and emotional depth to create a living, breathing ecosystem.
Candice Handy delivers a commanding performance as Aminata, carrying herself with authority while showing vulnerability. Her loyalty to her friends can be both protective and practical. Keisha L. Kemper as Bea provides contrast—always ready to compare with “When I own my own shop…” Jasimine Bouldin as Ndidi spars with Kemper, infusing the shop with competitive tension that feels authentically salon-born. (Who hasn’t at least considered switching stylists in a salon?)
Brianna Miller is compelling as Miriam from Sierra Leone, exchanging stories with Jennifer (Elexis Selmon), the sweet client receiving a full day of braids. Their twelve-hour bonding process captures the unique intimacy of salon culture, where stylists and clients become family.
A.J. Baldwin brings effervescent energy across multiple client roles (Michelle, Chrissy, and LaNiece), while Beasley commands attention as Vanessa, the overbearing client you love to cringe at. Beasley’s range is remarkable—their transformations through costume and hair design required a program check for recognition in their three client roles.
Samantha Russell captures the delicate balancing act of Marie, a young woman caught between worlds: capable of running the shop, excelling at school, proving herself a worthy citizen with a bright future, yet lacking documentation to enter college—something she must hide from classmates.
Samuel Stricklen proves a true chameleon, shifting seamlessly between four distinct male characters. His portrayal of the too-slick boyfriend especially resonates with swagger and charm that often precedes heartbreak or an empty bank account.
Finally, Burgess Byrd is magnificent as Jaja. She embodies a woman who has done everything to survive while lifting others up, looking fierce, regal, and commanding. That dazzling wedding dress with an African peplum? One hundred percent amazing!
Visual and Technical Excellence
Under Torie Wiggins’ direction, with assistance from Piper N. Davis and Aleah Vassell, the salon pulses with rhythm and emotional nuance. Scenic and lighting designer Brian C. Mehring creates a dynamic shop tucked under the bridge on 125th Street, imbued with loving detail. Properties curator Shannon Rae Lutz adds personal touches that make each stylist’s station feel lived-in and self-expressive. (Thanks for the giant B it helps audiences connect names with faces!)
Tiara M. Jones’s costume, hair, and wig design (executed with Aniya Williams) is fantastic. Here, hair isn’t just hair—it’s identity, history, artistry, endurance, and the stylists’ lifeblood. Justin Ellington’s sound design (with Trey Tatum) enhances Harlem’s bustle while subtly underscoring emotional beats.
Art Reflecting Reality
Bioh’s script doesn’t preach—it invites, braiding together beauty, struggle, joy, and resilience–in ninety minutes. Since the Broadway premiere in 2023, the political landscape has only intensified the play’s relevance. And policies just switched yesterday. Characters like Miriam, who travels between Sierra Leone and the U.S. to see her daughter, face increasingly uncertain futures under shifting immigration policies, especially of Western African countries.
The production is funny, heartwarming, and richly entertaining. It delivers harsh truths about immigrant experiences. The structure of the play is strong–it allows us to grow to love these women individually. Then, their vulnerabilities become our own concerns.
Final Word
See this play. Bring a friend. Discuss. When you see Burgess Byrd strut across the stage looking like a queen, remember how powerful it is to watch women own their stories. She came to the US, built a business, survived for at least 13 years raising up a daughter and others. She was creating a legacy. When you park in Over-the-Rhine, remember it is named by German immigrants to honor their homeland. It commemorates long-forgotten everyday people seeking new lives in America. This country was and is built by immigrants–welcomed or not. Their stories deserve telling. Ideally with as much artistry and heart as Jaja’s.
Get Tickets to Jaja’s African Hair Braiding
Jaja’s African Hair Braiding runs through June 22 at Ensemble Theatre Cincinnati. Tickets available via the online box office.
