Jaja’s African Hair Braiding by Jocelyn Bioh
a critique by Korinn Annette Jefferies korinnannette.com
though it seems like live streaming plays came and went with the urgency of the pandemic, I’m tremendously grateful for the people who do what they can to make sure this type of accessibility sticks around.
a few weeks ago, I got to see the livestream of Jaja’s African Hair Braiding by Jocelyn Bioh.
well, part of it.
because here’s the issue with livestreaming a show: when there is a technical difficulty, whether that’s a user error or a connectivity problem, there is no rewinding or going back to see what has been missed.
I saw the first fifteen minutes but the sound was cutting in and out. and then the whole thing froze but periodically, I was able to see stills of the scenes I couldn’t watch. eventually, the show came back with clearer sound.
I’m sure I missed a lot. between not being able to hear the beginning of the show to the huge almost 20 minute gap in the middle— I can only write about what I saw.
the set design? next level. David Zinn really captured the essence of the African hair braiding shop. and even though Jaja’s shop is in Harlem, it was still reminiscent of the shops I’ve visited in North Carolina. I do however wish there was light coming through the windows or some other way to show time of day besides the use of the clock. and perhaps there was— maybe it just wasn’t visible on the livestream.
a lot of things were not visible on the livestream. the camera chose times to zoom in on actors engaging in dialogue, often neglecting to show the totality of what is happening onstage. it felt like they were filming for live television, not a play.
another thing I absolutely have to highlight is the ‘theatre magic’ when it came to the wigs and hair changes. incredible. it was so cool to see the progression of the hairstyles and I think the livestream did a huge disservice to it’s audiences by not allowing us to see the full stage while these hair transformations were happening. either way, Nikiya Mathis, you did that.
I really appreciated the perspectives presented regarding African and African American relations in this play as well, particularly because they were perspectives outside of my own and I think they need to be shared more often with Black audiences from various ethnic backgrounds. as I get older, I am less inclined to champion racial unity because I understand that everyone has different needs and realities that shape the way they think and navigate their lives. but when I see Black people onstage, I see Black people onstage— a diverse, nuanced group of people with varying ethnicities and lived experiences who are forced to maneuver through global anti-Blackness. something about that just makes me wanna hold hands.
at times, the acting felt extremely presentational. and I know that’s the thing like it’s Broadwaay and it’s very “jazz hands” but I want us as an industry to let that go. presentational acting alienates the casual viewer who often dismisses theatre as “corny.” and they’re right— even in a musical (which is where i’d argue presentational acting is acceptable) it’s giving corny.
the lead character, Marie (Jaja’s daughter), was my least favorite part of the play. I had a hard time connecting with Dominique Thorne’s portrayal of Marie, particularly in her most emotional moments.
still, I think Jaja’s African Hair Braiding is one of my favorite shows I’ve seen this year.
Bioh touched on so many rich, delectable topics on this play and when it ended, I truly wished it was only intermission. the play is carefully crafted, showing us only a snippet of these characters lives— their stories don’t end at the curtain call.
and that’s the type of theatre I love.