REVIEW: Jaja's African Hair Braiding

A show with humor, heart, and humanity—even if the stakes come late

Ensemble Theatre Cincinnati’s production of Jaja’s African Hair Braiding delivers exactly what you’d expect from this company: strong performances, gorgeous design, and thoughtful direction. Jocelyn Bioh’s script offers a lively glimpse into a Harlem salon run entirely by West African immigrant women. The play unfolds over the course of a single day, filled with gossip, side hustles, tension, and joy as characters braid hair—and their lives—into something collectively rich.

That said, the storytelling pace might test the patience of audiences looking for higher emotional stakes. Much of the play’s first 85 minutes is observational—fun, fast-moving, and well-acted, but without much forward momentum. By the time the central dramatic moment arrives, it feels a little too late to have the emotional impact it’s clearly aiming for. We just don’t know one of the most affected characters well enough to feel it as deeply as we could.

Still, the cast works hard to fill those gaps, and many performances stand out. Beasley all but steals the show with her first character—funny, fully realized, and totally magnetic. Candice Handy and Keisha Kemper ground the piece in lived-in authenticity, while Brianna Miller and Samantha Russell shine with hopeful energy and genuine heart. Russell, in particular, delivers an emotionally raw final scene that’s especially powerful, even if the script doesn’t quite rise to meet her.

Jasimine Bouldin continues to be one of the most captivating new actors in town, balancing fire and vulnerability with remarkable authenticity. A.J. Baldwin showcases great range, and Elexis Selmon serves as a quiet, compelling entry point for the audience. Samuel Stricklen skillfully disappears into his multiple roles, and Burgess Byrd’s brief but crucial appearance helps shape the show’s emotional pivot.

Torie Wiggins handles the direction with clarity and confidence. With so many moving parts—literal braiding, multiple entrances and exits, and a rotating ensemble of salon clients—there’s a lot to manage, and Wiggins makes it all look easy. The visual world of the play is equally strong. Brian c. Mehring’s set is richly detailed and instantly transportive. Tiara M. Jones’s costumes and wigs feel both playful and precise, and the hair work deserves a standing ovation all its own. Shannon Rae Lutz’s props—always reliable—are particularly stellar here, grounding the production in tactile realism.

The sound design, originally created by Justin Ellington, was adapted effectively for this production, with local artist Trey Tatum serving as Associate Sound Designer and handling the on-site mix. The result is a rich auditory backdrop that supports the play’s Harlem setting without overwhelming it—an important balance in such an intimate space.

While the script’s pacing may not work for everyone, Jaja’s African Hair Braiding still offers a celebration of sisterhood, culture, and resilience. Ensemble once again proves its ability to stage visually stunning, emotionally grounded, and often unfortunately timely stories—and to showcase the artistry and heart that make Cincinnati’s theater scene something special.

Jaja’s African Hair Braiding runs through June 22nd at Ensemble Theatre of Cincinnati. For tickets and more information, click here.