Speakeasy Stage Company’s Boston debut of Jocelyn Bioh’s Jaja’s African Hair Braiding offers a vivid, heartfelt glimpse into the lives of African immigrant women in Harlem. Directed by Summer L. Williams, the play runs through May 31 at the Calderwood Pavilion on Tremont Street.
Set on a hot July morning in 2019, the story unfolds in Jaja’s bustling hair braiding salon at 125th and St. Nicholas Avenue. The salon is more than a business—it is a sacred space where vulnerability and community meet, as director Williams notes in the program.
The play centers on Jaja (MaConnia Chesser) and her 18-year-old daughter Marie (Dru Sky Berrian), who juggles managing the shop with her mother’s expectation that she pursue medicine, despite her own dreams of becoming a writer. The salon’s team includes Miriam (MarHadoo Effeh), Bea (Crystin Gilmore), Aminata (Kwezi Shongwe), and Ndidi (Catia), each bringing unique energy and stories to the space. Bea, Jaja’s longtime friend, dreams of opening her own shop, while Ndidi, a savvy newcomer, attracts loyal clients.
The vibrant dialogue captures everyday struggles and hopes, enriched by lively cameos from customers. Ashley Aldarondo skillfully plays multiple customers, including Jennifer, who requests time-consuming micro braids, and others like Vanessa and Radia. Yasmeen Duncan portrays several regulars, while Joshua Olumide takes on a range of male roles, from street vendors to Aminata’s husband.
Beyond the humor and warmth, the play touches on the harsh realities of immigrant life in the United States during the Trump administration. References to ICE raids and anti-immigrant policies underscore a looming sense of fear among the women. Yet, they remain resilient and hopeful.
A pivotal moment is Jaja’s wedding day. Her marriage to Steven, a local landlord, offers a path to citizenship. The cast joyfully celebrates this milestone, highlighting the importance of immigration rights. “If we are paying taxes, we should become citizens,” Jaja declares.
The production’s design elements enrich the story. Janie E. Howland’s colorful, realistic set features a graffiti-tagged wall that slides like a storefront gate. Andrew Reynolds’s props add authenticity, while Danielle Domingue Sumi’s vibrant costumes reflect the characters’ personalities. Christopher Brusberg’s lighting and Aubey Dube’s sound design support the dynamic atmosphere. Nadja Vanterpool’s hair and wig designs stand out, skillfully showcasing the braiding process essential to the narrative.
Williams’s direction keeps the 90-minute play brisk and engaging, blending humor with poignant moments. The fast pace never feels rushed but captures the energy of life in the salon.
At its core, Jaja’s African Hair Braiding offers a powerful, humanizing response to harsh immigration rhetoric. Bea’s reminder—that sometimes the only choice is to keep moving forward—resonates deeply. This production invites audiences to witness the strength and spirit of those often marginalized, urging ongoing support and solidarity.
