With Friday’s opening night of its regional premiere coinciding with a report that the Trump administration was planning a Chicago trial run of its mass deportation initiative in just four days, the arrival of Jaja’s African Hair Braiding at Chicago Shakes after a well-received Broadway run could not have been more timely.
One of theater’s great strengths is its ability to explore the specific human toll of wars, natural disasters and other disruptive events that may seem abstract to many not directly affected. On this score, Jaja’s African Hair Braiding does a wonderful job of using a highly entertaining evening at the theater to also show us the faces and stories of decent, hard-working immigrants living in fear of having the American dream ripped away from them.
But stay with the word entertaining for a moment. Up until the climax of this high-octane play about a day in the life of a Harlem salon owned and operated by immigrant women from Africa, we get to know these engaging stylists and their customers in detail–their relationship hopes and struggles, their dreams of attending college or opening their own shop, of finally getting U.S. citizenship.
This play by Jocelyn Bioh is full of humor derived from bumping all of these disparate personalities against each other, as played by an ensemble featuring several very good actors making their Chicago stage debut as well as some great local talent, all on a vibrant and realistic set designed by David Zinn.
Though the dramatic stakes grow high toward the end of the single act’s 90 minutes, the production, directed by Whitney White, is a delight, avoiding the deadly pitfalls of preachiness and melodrama. These are vulnerable people living difficult lives, but they manage to find real joy in them.
We get standout performances from Awa Sal Secka as Bea, the long-suffering complainer of the group who makes a surprising pivot; Bisserat Tseggai as the sweet Miriam, who reveals she can be loud and impetuous when the mood strikes; Aisha Sougou as Ndidi, who becomes more than a foil to Bea as the action unfolds; Tiffany Renee Johnson as Bea’s yes-woman Aminata, struggling with a deadbeat husband who keeps charming his way back into her arms; and Jordan Rice as recent high school grad Marie, the whip-smart and friendly daughter of Jaja (a regal Victoire Charles, who makes the most of her cameo) with a lot more on her shoulders than any teen should be asked to bear.
I was particularly impressed by the nuanced performance of Mia Ellis as Jennifer, a non-immigrant walk-in customer who sits with Miriam for an all-day installation of micro braids, which gives her an in-depth look at the personalities in and behind the chairs from the perspective of an outsider. Jennifer starts off somewhat reserved and unsure of what she has gotten herself into, but then warms to the group in a genuinely empathetic way.
Jennifer has been working for several years as a low-level assistant at a magazine and longs to go out in the field and write impactful stories. As we watch her forge sisterly bonds from the chair, the thought arises: That big story you want to report? It’s right here in front of you.
In a nation of immigrants, we need more Jennifers out there helping us understand the lives of the current generation of striving dreamers, and we certainly need more playwrights of Bioh’s caliber bringing those stories to the stage.
It’s going to be a long four years. You owe it to folks like these–and truly, to yourself–to hang onto your empathy and refuse to avert your eyes from the cruelty to come.
Jaja’s African Hair Braiding runs through February 2 at Chicago Shakespeare Theater.
For a full roundup of reviews of this show, visit Theatre in Chicago.
Photo by T Charles Erickson
