Jaja’s African Hair Braiding at Lyric Hammersmith Review
Written by Amelia for Theatre and Tonic.
Disclaimer: Tickets were gifted in return for an honest review. All views are our own
Jaja’s African Hair Braiding arrives at the Lyric Hammersmith with the kind of buzz that feels entirely earned. Having already made waves on Broadway, Jaja’s African Hair Braiding makes its UK premiere with a warmth and confidence that immediately pulls you in. Written by Jocelyn Bioh, the play drops us into a bustling Harlem hair salon over the course of a single, sweltering day, where a group of West African women braid, banter, and bicker their way through work, life, and everything in between.
Before landing in London, Jaja’s African Hair Braiding had already firmly cemented itself as one of the standout plays of its Broadway season. Opening in 2023 at the Samuel J. Friedman Theatre, the production quickly became a critical darling, praised for its razor-sharp writing, richly drawn characters, and the way Jocelyn Bioh captures both the humour and hardship of everyday life. The play went on to receive multiple nominations at the Tony Awards, further solidifying its impact, and its Broadway run proved that a story so rooted in a specific community could resonate widely, setting the stage perfectly for its journey across the Atlantic.
This is a hugely ensemble-driven piece, and from the very beginning it’s clear this company have one another’s backs. There’s a real sense of trust running through the cast, which only elevates the performance as a whole. Each character feels distinct, with their own quirks and presence, yet they never feel out of place within the wider world of the show. Instead, they mesh together effortlessly, creating something that feels cohesive, considered, and genuinely alive.
Dolapo Oni’s Bea anchors the dynamic with a quiet strength, her presence both grounding and deeply affecting, while Jadesola Odunjo’s Miriam offers a beautifully observed contrast, full of nuance and emotional clarity. Sewa Zamba as Marie brings a warmth and lightness that lifts the space at just the right moments, balancing the heavier themes with ease. Babirye Bukilwa’s Aminata is striking, layered with a subtle intensity that simmers beneath the surface, and Bola Akeju’s Ndidi rounds out the group with a sharpness and precision that cuts through when needed. Together, their chemistry feels entirely organic; there’s a genuine sense of shared history and sisterhood that pulses through the stage, making their relationships utterly believable and, at times, deeply moving to watch.
Visually, the production strikes a smart balance. The set design is exactly what it needs to be, never overstated, but vibrant and electric enough to fully translate on stage. It’s clearly been designed with function in mind, allowing the action to flow seamlessly while still building the world around it. This is paired with some standout work from the wigs, hair and makeup team led by Cynthia De La Rosa, who have pulled out all the stops with some truly impressive creations. The costume design by Jessica Cabassa follows suit, adding further texture and personality to each character without ever feeling overdone.
What lingers most, however, is the show’s commentary on immigration. It feels both necessary and thoughtfully handled, never forced but instead woven naturally into the narrative. The tonal shift towards the end is particularly striking. Following the first hour filled with warmth and comedy, the closing moments land with a poignancy that’s hard to ignore. Without giving anything away, it’s a reminder of the reality many still face today. The direction from Monique Touko works hand in hand with Jocelyn Bioh’s writing, the two blending effortlessly to deliver a piece that is as entertaining as it is affecting.
Jaja’s African Hair Braiding plays at Lyric Hammersmith until the 25th of April 2026.
★★★★
