Jocelyn Bioh's 'JaJa's African Hair Braiding' Comes To The Mark Taper Forum

The cast of 'JaJa's African Hair Braiding'
Photo By T. Charles Erickson

By Darlene Donloe

Theater enthusiasts in Los Angeles will have the opportunity to experience the vibrant world of Ghanaian culture through the eyes of acclaimed playwright Jocelyn Bioh when her hit play, ‘JaJa’s African Hair Braiding,’ takes the stage at the Mark Taper Forum from October 1 to November 9, 2025.

Directed by Whitney White, JaJa’s African Hair Braiding stars Melanie Brezill (Harry Potter and the Cursed Child, The Book of Mormon), Leovina Charles (Young Nala in The Lion King, La Jolla Playhouse Lempicka), Victoire Charles (MTC Golden Age, MTC, Intiman, Geffen Playhouse Ruined), Mia Ellis (The Amen Corner, The Mountaintop, Intimate Apparel), Tiffany Renee Johnson (Blues for an Alabama Sky TV Shameless), and Michael Oloyede (Broadway Jaja’s originated James/ Franklin/Olu/ Eric).

JaJa's African Hair Braiding, located in a Harlem hair salon owned by a Senegalese immigrant named JaJa, follows the lives of the women who work at the salon, showcasing their struggles, triumphs, and relationships with one another and their clients.

With its blend of humor and poignancy, JaJa's African Hair Braiding has already garnered critical acclaim, earning five Tony Award nominations, including Best Play.

Bioh's plays are known for their nuanced humor, heart, and unapologetic portrayal of African culture, identity, and experiences.

The cast of JaJa's African Hair Braiding
Photo By T. Charles Erickson

With JaJa’s African Hair Braiding, she brings to life the bustling world of a Harlem hair braiding shop, where a group of West African immigrant hair braiders navigates love, dreams, and secrets.

The play, which premiered on Broadway in 2023, was a New York Times Critic's Pick and earned a Tony Award nomination for Best Play.

Her breakout play, School Girls; Or, The African Mean Girls Play, was a critical and commercial success, winning several awards, including the Lucille Lortel Award for Outstanding Play and the Outer Critics Circle's John Gassner Award. The play explores themes of colorism, identity, and community among African girls at a boarding school.

Bioh's work is driven by a desire to humanize the experiences of Black women and challenge the stereotypes associated with them. She believes in the power of storytelling to inspire empathy and understanding, and her plays often feature strong, complex female characters.

As a Ghanaian-American writer whose parents are from Ghana, Bioh, 42, draws on her own experiences and heritage to craft authentic and relatable stories.

Born and raised in Washington Heights, New York City, Bioh's love for theater began at the Milton Hershey School, a boarding school for low-income children in Pennsylvania.

She later honed her craft at Ohio State University and Columbia University, where she earned her MFA in Playwriting.

Throughout her career, Bioh, a married mother of one, has received numerous awards and nominations for her plays. Some notable recognitions include a Tony Award nomination for Best Play for JaJa's African Hair Braiding, a Drama Desk Award for Outstanding Play for JaJa's African Hair Braiding, an Outer Critics Circle Award for Outstanding New Broadway Play for JaJa's African Hair Braiding, and a Lucille Lortel Award for Outstanding Play for School Girls; Or, The African Mean Girls Play.

Jocelyn Bioh is a talented playwright who has made a significant impact on the theater world with her unique voice, compelling stories, and dedication to showcasing the experiences of Black women.

In addition to her playwriting, Bioh has made a name for herself as an actress, appearing on Broadway in productions such as The Curious Incident of the Dog in the Night-Time and An Octoroon.

She has also worked as a staff writer for Netflix's Russian Doll and Spike Lee's She's Gotta Have It (Netflix), Tiny Beautiful Things (Hulu), The Acolyte (Disney+), and is writing the live-action film adaptation of the hit Broadway musical Once On This Island for Disney. 

The play at the Mark Taper in Los Angeles is the last stop on the 14-month tour.

Playwright Jocelyn Bioh

I recently spoke to Bioh (JB) about her career and her latest play, JaJa’s African Hair Braiding.

DD: You had a double major in English and theater at Ohio State and received your NFS in playwriting at Columbia University. What was it about playwriting that intrigued you?

JB: Honestly, it didn't intrigue me. I took a course for credits. I thought it would be a cool class. My professor encouraged me. She said I had a good ear for dialogue. That was lovely encouragement. I eventually got the bug.

DD: When did you get your big break?

JB: I got my big break Off-Broadway in 2017 with ‘School Girls; Or, The African Mean Girls Play.’

DD: Do you have a favorite play? Not one of yours.

JB: It would be ‘Ruined’ by Lynn Nottage. Structurally, it’s one of the best. Characters are unique. It’s one of my Top 5.

DD: What was the first thing you wrote? Was it any good?

JB: It was a play about a girl going on a bunch of bad dates. It ends with a date with some promise. It was a sweet play. It showcased my flair for comedy and ability to create comedic content.

DD: What inspired you to write about the West African immigrant experience in Harlem?

JB: Both parents are from Ghana. I had the experiences of my aunts and uncles. I’ve lived the first-generation experience. I walk through life every day as a Black African American. I want to contribute to the conversation about how the diaspora is represented. African stories often seem to have a singular narrative of strife, disease, and other hardships. It’s not the complete truth of every single person in the 54 countries in Africa.

DD: The play's setting in Harlem is integral to its narrative. What significance does this location hold for you, and how do you see the story reflecting or challenging Harlem's cultural identity?

JB: It doesn't challenge it; it highlights it. It’s a massive part of the economy. I live in Harlem. It's a huge part of the culture. When I wrote it in 2019, I wanted to add more context to that. I wanted to show the women who came here in search of a better life.

DD: Why is it called JaJa’s?

JB: There’s no story behind it. I like the name. It’s actually the name of a hair braider I used to go to.

DD: Love, dreams, and secrets are central to the plot. Can you discuss how these elements intersect with the themes of community and identity?

JB: Those are all universal things. We all experience things. We all have love and secrets. We identify with the power of being in a community. The play unfolds over the course of a single day. A 12-hour day. That’s how we understand and learn about these women.

DD:  By writing this, what did you want us to know?

JB: I wanted you to see their humanity. Many immigrants come in search of a better life. They don’t come to commit crimes.

DD: Can you walk us through your writing process and how you developed the characters and storylines?

JB: I always spend a lot of time in hair shops. I thought it would be a great setting. I wanted the play to highlight immigration. While writing, we should have a character come in and have their hair braided all day. There needed to be someone antagonistic. It's a workplace comedy. We need someone who has a lot of bravado and someone who does their piece and wants to go home. I don’t have a writing process. I write whenever I have a moment to myself. I close the door and do what I do. I don’t have a romanticized process. I’m a mom to a 2-year-old. There’s nothing romantic about it.

DD: How did your own experiences as a Ghanaian-American influence your portrayal of the characters and their struggles? Were you extra careful with the characters?

JB:  No, I can’t be concerned about a character being super noble. If a character is complex and has terrible energy, I highlight that. I don’t shy away from truths that are ugly or honest. That’s an essential part of creating complex characters.

DD: What role do you see the braiding itself playing in the narrative – is it more than just a backdrop for the story?

JB: It’s where these characters are convening. It’s not the center of the story at all. The play is about a community of immigrant women. The braiding is a part of what’s happening in the play. The play is not about hair.

DD: Can you talk about your experience working with director Whitney White and the cast? How did you collaborate to bring the play to life?

JB: Whitney is amazing. I’ve been a fan of hers for quite some time. When I wrote JaJa, and I was searching for a director, she was at the top of my short list. She was number one. She understood the world of the play. She’s from Chicago and has her own experiences.  We understood the characters and the type of women who should be playing them.

DD: How do you hope the play will contribute to the broader conversation about representation and diversity in theatre?

JB: Shining example of representation and diversity. We say all the time that Black people are not a monolith. Our stories are so diverse within the diaspora. There are different versions of Blackness in this play. It’s a thrill to create a piece that does that.

A Co-Production with Arena Stage, Berkeley Repertory Theatre, Chicago Shakespeare Theater, and La Jolla Playhouse, In Association with Madison Wells Live and LaChanze.

'JaJa's African Hair Braiding,' Mark Taper Forum, 135 North Grand Avenue, Los Angeles, CA 90012; 7:30 p.m., Tuesday through Thursday, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 7 p.m. Sundays, Wednesday, October 1 to Sunday, November 9, 2025, tickets begin at $40.25, CenterTheatreGroup.org, Audience Services at 213.628.2772. 

 

 

 

 

 

 

 

 

 

Lights, Camera, Music: Black Movie Soundtrack V Hits The Hollywood Bowl

Reginald Hudlin

 

By Darlene Donloe

Get ready for an unforgettable night of music, film, and fun at the iconic Hollywood Bowl!  

Black Movie Soundtrack V is returning to the legendary venue on Wednesday, Sept. 10, 2025, and all indications point to it being a star-studded celebration of Black cinema and its iconic soundtracks. 

Produced by Reginald Hudlin and hosted by Craig Robinson, Black Movie Soundtrack V is designed to be an evening of joyful, moving, and unforgettable music and film.  

Marcus Miller is the musical director, and Derrick Hodge is the conductor of the Color of Noize Orchestra. 

The lineup for the living mixtape includes an impressive array of artists, including Bun B (from the legendary hip-hop duo UGK), Morris Day, Full Force, Jennifer Holliday, Jimmy Jam and Terry Lewis, Miles Caton (‘Sinners’), Tom Morello, PJ Morton (Maroon 5), and Tyrone Huntley.

“Tyrone Huntley starred in ‘Jesus Christ Superstar’ at the Bowl,” Hudlin said. “He actually worked at the Bowl as an usher. He auditioned for that show and got it. What a great story.” 

D-Nice will DJ the event. 

The event will feature live performances of iconic songs from Black cinema, accompanied by film clips and special guests. 

“I gotta be honest,” said Hudlin, an Academy Governor, who has a passion for celebrating the rich history of music in Black cinema. “I really started this event for me. I'd been wanting to do it for a number of years. I wanted to do that with my favorite music and movies. That's how I came up with the idea. I’m glad that the crowds come out every year, but to be honest, I did all of this for me.”

Hudlin said he continues to do the annual event because he ‘loves films and music’. 

"Music really is the ultimate expressive art form,” he said. “That's why I love doing this show.”

Hudlin said the show “celebrates this great music that has been done over all these decades.”  

“My main thing is to entertain people,” he said. “Actually, they all teach you what you like. It’s very interesting. I’ve produced the Oscars, done TV shows, I make movies, but this show at the Hollywood Bowl gets the biggest reaction from anything I’ve done.”

This year’s celebration of music and film includes tributes to Luther Vandross, the hit movie 'Sinners,' Quincy Jones, and Prince, two people that Hudlin calls “Music’s greatest innovators.” 

“Both of those men deserve tributes,” said Hudlin, known for producing the movies Django Unchained, Marshall, Boomerang, House Party, the documentary 'Sidney,' and more. “They both deserve to be honored.  We have Morris Day and Jerome. The two of them performing together is like, ‘wow.’ Jimmy Jam and Terry Lewis, who consistently deliver, will be there to pay tribute to Prince. Prince is special to me. I try to honor him every year.  Quincy, what can you say about Quincy? He has given us so much music, starting from back in the day.” 

In addition to the tributes to Prince and Quincy Jones, Miles Caton, who starred in the hit movie ‘Sinners’, will deliver soulful vocals, Full Force will present some classic hip-hop moments, and Grammy-winning bassist and composer Derrick Hodge will conduct the Color of Noize Orchestra. At the same time, D-Nice will keep the party going with timeless hits. 

Hudlin said when he first came up with the idea for Black Movie Soundtrack, he made a list of all the songs he wanted in the show. The list landed at 120.

“I asked the Bowl how many songs they thought could fit in the show,” Hudlin said. “They said, ‘about 12.’ I panicked. I had a list of 120. That’s when they told me the other songs could be included in future shows. We’re going to work our way through the incredible songbook I came up with of Black Movie Soundtracks. It was back then that we realized the show couldn’t just be a one-night-only event.”

(l-r) Reginald Hudlin, Craig Robinson, and Marcus Miller

The event, created by the visionary artists Hudlin and Miller, was first held at the Hollywood Bowl in 2014. 

The show paired live performances from some of the industry’s hottest acts with movie clips projected on a large screen. 

Together, Hudlin and Miller have created a one-of-a-kind concert experience that pays homage to the legacy of Black movie soundtracks through live performances and a curated selection of film clips.  From the very beginning, the show has been a hit. 

Black Movie Soundtrack has paid tribute to Black cinema and music through performances by Gladys Knight, Babyface, Common, El DeBarge, Chaka Khan, Earth, Wind, & Fire, and more. 

Other acts featured in previous years include Charlie Wilson singing the “Theme From Shaft,” Gladys Knight singing songs from the “Claudine” soundtrack, Kenneth “Babyface” Edmonds singing “Give You My Heart,” Lalah Hathaway doing “Love Shoulda Brought You Home” from Boomerang, Full Force doing “Ain’t My Type of Hype” from Hudlin’s movie “House Party,” and Public Enemy and En Vogue performing music from films including “Sparkle,” “In the Heat of the Night” and “Do the Right Thing” and more.

The Black Movie Soundtrack has become a beloved tradition at the Hollywood Bowl, bringing together music lovers and film enthusiasts alike.  

“I just want everyone to come out and enjoy themselves,” Hudlin said. “When you sit in the theater, and you see someone who looks like you, that’s a really big thing. Black Movie Soundtrack is not just about the music. It’s about being proud of the history.”  

‘Black Movie Soundtrack V,’ The Hollywood Bowl, 2301 N. Highland Ave., Bowl gates open at 6 p.m., and the show starts at 8 p.m. 

Attendees can take public transportation by catching the Metro B Line to Hollywood/Highland Metro Station and then taking the free Bowl shuttle.  

Parking options are also available, including Park and Ride and Bowl Shuttle tickets. 

Tickets for Black Movie Soundtrack V start at $25 and can be purchased through TodayTix. 

Cherise Boothe Stars In 'Eureka Day' At Pasadena Playhouse

Cherise Boothe
photo by Jeff Lorch

Darlene Donloe

Cherise Boothe is set to star in the Pasadena Playhouse production of "Eureka Day," a Tony Award-winning satire that tackles the complexities of vaccine policies in a private school. The show opens September 14.

The veteran actress and San Francisco native takes on the role of Carina, bringing her extensive experience in theater, film, and television to the stage.

With a career spanning over two decades, Boothe, a natural beauty with a sparkly personality, has proven her versatility as an actress.

Her notable credits include originating the role of Josephine in Lynn Nottage's Pulitzer Prize-winning play "Ruined" and winning an Obie Award for her performance in "Milk Like Sugar" and "Angels in America".

She's also made appearances in TV shows like "Modern Family," "The Politician," and "Law and Order".

In "Eureka Day," Boothe's character, Carina, is part of a cast that explores the chaos that ensues when a mumps outbreak hits the fictional progressive private school in Berkeley, Eureka Day.

Carina is a new parent and the newest member of the school’s executive board, whose presence challenges the institution’s performative ideals of radical inclusivity. She is a Black, gay woman from the East Coast with a son who has special needs, and her perspective stands in sharp contrast to the established, privileged liberal parents who make up the rest of the board.

The play, directed by Teddy Bergman and written by Jonathan Spector, satirically examines the school's well-meaning but flawed attempts to create an inclusive vaccination policy.

The school's board of directors, comprising five parents and the school's head, must navigate the crisis while maintaining their inclusive vaccination policy.

Cherise Boothe

I recently caught up with Boothe (CB) to talk about her career and ‘Eureka Day.’

DD: Why did you want to be an actress?

CB: I spent a lot of time alone growing up. My mother worked the graveyard shift. My parents separated when I was five years old. To make ends meet, she did a graveyard shift. Between the ages of 8 and 12, I spent a lot of time alone. I escaped through TV and videos of shows that I had on VHS tapes. There was a desire to escape into other worlds because my world was lonely and uneventful. I didn’t have time with other kids. When I got to high school, there was an acting class. I realized I could get better at it. It was something I could pursue and enjoy. Right then, I caught the bug.

DD: What did your Jamaican parents think?

CB: My parents tried to steer me away from coming to LA. They encouraged me to go to Berkeley so that I would find something else to focus on. It took me a while to find my footing and to gain the approval of my father and stepmother. My mom had art in her, but couldn’t let it out. With immigrant families, the thing is work. It's the way to achieve what you want in life. I am the beneficiary of what they needed to do to get where they are now.

DD: Tell me about EUREKA DAY in your own words.

CB: It’s a story about a progressive, private school. A diverse group of parents from various backgrounds comes together. They are hit with an outbreak of mumps. There is a board, a committee that steers the school and teaches its core values, and keeps them grounded.

DD: Tell me about your character?

CB: I play Carina, a mom who comes to the school. She is a new parent on the block.  I am still trying to figure out how everything is done, and then the mumps breakout happens. We need to determine how to address this issue. Carina is interesting. I feel that the challenge she faces is being new and navigating a new space and environment that she is not accustomed to, all for the sake of her child’s well-being. It’s an interesting tightrope to walk. She presents a challenge to me. The things Carina doesn’t say are essential, as opposed to what she does say. When she enters the conversation, there are specific reasons for when she chooses to speak up. I found it interesting and challenging.

DD: Why did you want to be in this show?

CB: To be honest, I feel fortunate to be in a play. It’s my first love. I started my acting in plays. It’s where I feel comfortable. For this particular play, to be at the Pasadena Playhouse for the first time, I enjoy the things I’ve seen there.

DD: How do you think Carina’s character contributes to the overall themes and satire of the play?

CB: That’s interesting. As a Black woman within the context of this group’s dynamic and being a new group member, the negotiation of being new and wanting to make sure that she’s not stepping on toes, but making sure her voice is heard, and trying to figure out the best way to do that. She’s dealing with all of that. Everybody is trying to be their best selves.

DD: Your character is a Black lesbian in that community.

CB: Yes, a Black lesbian in that community. I don’t know – it’s just another layer that adds to the complication, but it doesn't feel like it is. It’s just a fact. I feel like her race has more of a presence than her sexuality. I’m not trying to dismiss her sexuality. Race has a greater presence.

DD: How do you prepare for a role, and what do you think are some of the most essential qualities for an actor to possess?

CB: There is an initial research component to understand where she is coming from, what her background is, and what type of school she’s going into. There is an understanding of what the most important things are for Carina. The well-being and support of what her son needs to thrive. Her wife likes being there. It feels complicated, negotiating the balance of being in a new space and having to consider the welfare of my son and the happiness of my wife – where are the disagreements, how can we come together, and what are the points of disagreement?

Cherise Boothe stars in 'Eureka Day'
photo by Jeff Lorch

DD: What qualities do you think actors need to possess?

CB: The thing I’m working on these days is my empathetic imagination. It can be easy to harden oneself. As an actor, how do you maintain a soft and malleable inner state that is easily accessible to serve whoever you are portraying? I find that to be the most essential—everything else you can mold and adjust, making a different choice. To access the softer parts of you – it's you at your most human.

DD: How do you approach playing a character who may hold different views or perspectives than your own, and what do you think audiences will take away from Carina's story?

CB: Honestly, it's just hard to find someone….. I may disagree with how they are doing something. Sometimes it’s hard. You double down on empathizing with their perspective and point of view. What shapes them? Put yourself in our shoes.  You have to turn up the volume on your empathetic understanding of what it's like to be in that person’s shoes. Initially, it can be hard, but that’s when I take a pause and open up my empathetic heart to being this person.

DD:  What do you hope the audience takes away?

CB: I don't necessarily have something specific for them to walk away. Hear Carina and understand where she is coming from. I hope audiences can receive the play and the people on stage within the context of the story – and I hope they can hear each character and engage in a conversation about it.

DD: What do you think EUREKA DAY says about the importance of vaccines, public health, and personal responsibility, and how do you think the play's themes resonate with contemporary audiences?

CB: It brings up a lot of what people disagree on. Various sides of that argument of whether vaccines are needed, if they work, the science behind them, the protection of people, and the population at large. I’m sure audiences, in one way or another, will have a personal perspective on the topic. They will either be open to discussing it or not. What the play does is continue that conversation. I’ll leave it to audiences to figure out what the play is saying. The play raises many aspects of the conversation.

DD: What personal connections do you have to the themes or issues explored in EUREKA DAY, and how do you think your own experiences inform your portrayal of Carina?

CB: I have personal experience. I was vaccinated. My relationship to vaccines was at a time when it was automatic. You just did it. I didn't have any complications. I don't have a complication as some have with the vaccination process. When COVID-19 emerged, I was surprised. I was like, ‘Wait a minute, should I not do this?’ I figured I would get it. It was very contentious.  Everything has become incredibly divisive.  I think it's a metaphor for what’s happening.  Disagreements don't have to divide us. I wish more of us could find a way to disagree without division. It requires a great deal of understanding and empathetic generosity.

***

The impressive cast of Pasadena Playhouse’s production of Eureka Day includes Boothe (Signature Theatre’s Fabulation, Geffen Playhouse’s Barbeque) as Carina, Mia Barron (Broadway’s Coast of Utopia, Lincoln Center’s The Coast Starlight - Lucille Lortel Award winner) as Suzanne, Camille Chen (Renfield, American Horror Story: Asylum) as Meiko, Nate Corddry (Sugar, Barry, Perry Mason) as Eli, and Rick Holmes (Broadway’s Peter and the Starcatcher, Broadway’s The Visit) as Don.

The creative team is equally talented, with scenic design by Wilson Chin, costumes by Denitsa Bliznakova, and lighting design by Elizabeth Harper.

"Eureka Day,” Pasadena Playhouse, 39 South El Molino Avenue, Pasadena, 8 p.m. Wednesday and Friday evenings, 7 p.m. Thursdays; Tuesday, Sept 30 at 8 p.m.; Saturdays at 2 and 8 p.m.; Sundays at 2 p.m. and Sunday Oct. 5 at 7 p.m.; September 14 through October 5, 2025; tickets: pasadenaplayhouse.org, 626-356-7529, and at the box office at 39 South El Molino Avenue, Pasadena, CA 91101.