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“Jaja’s African Hair Braiding” Twists Tight and True at Manhattan Theatre Club Broadway



It’s a hot summer’s day in Harlem. In the year 2019. With America and its immigrant stance turned upside down and aggressively armed by orange-stained politics and divisive rhetoric. Stay inside, the weatherman says, and with that, the writing is on the walls in Jaja’s African Hair Braiding salon, story, and play, strutting confidently into MTC’s Samuel Friedman Theatre. The new play, written with a strong ear for authentic hair braiding engagement by Jocelyn Bioh (Public/SITP’s Merry Wives; School Girls: or, the African Mean Girls Play), finds its tight twists from within after the metal grate rises up. The new packs of hair have arrived, and the day is about to get started for these determined women who make the packaged hair ends meet in the micro braiding of that same hair, picked personally by the owner at large, Jaja.

Jaja, as played with solid intention by Somi Kakoma (Off-Broadway’s Dreaming Zenzile), doesn’t make her grand matrimonial appearance until halfway through the play’s day, riding in on a sea of matrimonial white, perfectly costumed by designer Dede Ayite (Broadway’s American Buffalo). But way before that, we are first greeted with Jaja’s hard-working dreamer-daughter, the freshly frazzled and late Marie, played beautifully by Dominique Thorne (“If Beale Street Could Talk“), who runs up to the front to find the young and soft-spoken Miriam, passionately and quietly played by Brittany Adebumola (Hulu’s “The Other Black Girl“) waiting patiently by the door. Their conversation and connection ring true, rotating us into the salon with a gentle hand and a pull of a chain, thanks to the stellar set design of David Zinn (Broadway’s Kimberly Akimbo) matched perfectly by the strong work of lighting designer Jiyoun Chang (Broadway’s The Cottage) and sound designer/composer Justin Ellington (Broadway’s Ohio State Murders).

Marie, doing the job her mother has tasked her, ushers us into the brightly-toned braiding shop with a simple edge. And as the crew of braiders file in, giving her their orders for the day, we understand the lay of the land, and how Marie is far beyond this, while being totally loyal to it. It’s business as usual, waiting for appointments and customers to walk through the door, as well as anticipating the arrival of the owner, who will be stopping by soon to show off her situation, and her wedding dress on her way to the courthouse to marry “her white man,” Steven. There’s so much to unpack there.

Nana Mensah, Lakisha May, Maechi Aharanwa, and Kalyne Coleman in Jaja’s African Hair Braiding at MTC’s Samuel J. Friedman Theatre. Photo by Matthew Murphy.

The women, all miraculously well-played by a cast of experts, have a lot to say about that union, and basically everything else, including each other’s lives, ways, and means, and rarely hold back. It’s touchingly well executed, even when sharply played. The atmosphere, as directed by Whitney White (NYTW’s On Sugarland; MCC’s Soft), gives off a tangible air of connection and unity. This is their second home, or maybe even their first, in a way, as this is the place where they are living forward, engaging and sharing their hearts and their fears with an abandonment that registers. “I feel like I moved in for the day,” says one customer, Jennifer, played beautifully by Rachel Christopher (Broadway’s for colored girls…), an aspiring journalist who is the first customer to arrive in the morning. She innocently asks for a long mane of micro-braids, a request that sends the more senior souls to change their open chairs to closed. They know full well that it will take whoever accepts the challenge all day, pretty much to closing time, to complete the job, and cause some pain and possibly bleeding of the fingertips.

But Abebumoia’s sweet Miriam takes on the task, and their engagement, client to braider, fills the space in a way that few others are given the chance. It opens up the salon to a world of vulnerable sharing and fantastic imagery, as they, over the course of the day, share their stories. It is in their captivating telling of love, courage, and passion, that we begin to understand a stratosphere of situations that exist in that room, giving them all the ability to take in the hazards and fears that exist outside those salon doors. A world that will eventually invade and pull apart this safe and maternal space. The writing is basically on the wall, and Maria seems to know it more internally, forever anxious for her future, and for the future her mother is trying to create on this day of matrimony.

Dominique Thorne, Somi Kakoma Photo by Matthew Murphy

Inside this supposedly bustling hair braiding salon in Harlem, this well-orchestrated group of West African immigrant hair braiders unpacks the trials and traumas of their existence, trying to create a world that fills them with the idea of control and connection. They show their fragilities and secrets while trying to remain regal in their upright frames. The play really understands this combative unity, and it unveils itself most dynamically in the two senior braiders that demand our attention from the get-go.

When Bea, the shop’s most senior, enters the space alongside Aminata, her ally and friend, we feel their presence and their confidence in their position. It’s a strong embodiment, and as the two actors, Zenzi Williams (NYTW’s RunBoyRun) and Nana Mensah (2ST’s Man From Nebraska) as these two souls live out their tumultuous day together, a history of their world is unleashed. And as presented by these two absolute anchors, the play works wonders, even if the groundwork they lay is simple and superficial at times. But without them, the explosive groundedness of the play would have been lost. Williams, as the bossy bullying Bea, gives off an energy that suggests so much, without ever having to unwrap it all for us. Mensah’s Aminata delivers a more defensive position edged in love and care. They are convincing and strong, even as we watch Bea harass her colleague braider, the young and possibly more talented Ndidi, played strong by Maechi Aharanwa (PR’s If Pretty Hurts…) who is seemingly taking over as the desired braider in the pack, no matter how hard Bea fights against her. And threatens her.

Helping to create this world of African braiding, two other superb actors find authenticity in the space and themselves as numerous different customers who come through that door, only to be led outside to be told the price – an act I was never really clear as to why that was the custom. But in a way, it added to the realness and otherness of the realm. Kalyne Coleman (Vineyard’s Lessons in Survival) and Lakisha May (NYTW’s Sojourners) play out three different clients, stealing the scenes with their excellence, with May taking over the space as the worst client of the year. She’s brilliantly funny from the moment she walks through that door. Yet it is in her slumping that she wins the day.

Kalyne Coleman and Maechi Aharanwa in Jaja’s African Hair Braiding at MTC’s Samuel J. Friedman Theatre. Photo by Matthew Murphy.

The other stars on that stage are all those impossibly perfect wigs, created by hair and wig designer Nikiya Mathis (Broadway’s Chicken & Biscuits; Topdog/Underdog) that miraculously walk through transitions that are as seamless as they are spectacular. Mathis has constructed pieces of developmental art, giving us a clear vantage point to witness the braiding process right before our eyes, teasing and twisting transitory changes magically, and advancing the energy and dynamic on that stage.

Yet, this is all in support of and a lead-up to the pivotal, somewhat formulaic presentation of Jaja, and the speech made to us all, front and center. It overflows and fills out the play as spectacularly as that wedding gown worn by its proud owner. It unpacks and displays the uncertainty of all those women and their circumstances in one solid smash, confronting and enlisting us to what lies, simmering just below the surface. And when it boils over, it engulfs them all, and us, in the outsider unfairness that this country has braided into immigration. It pulls this tightly-knit in-fighting community together, in maybe a tad too obvious manner. The play and its conflict twist this vantage point to its end as we watch the pack draw each other close to confront what it means to be an immigrant on the edge of the place they call home.

Brittany Adebumola and Dominique Thorne in Jaja’s African Hair Braiding at MTC’s Samuel J. Friedman Theatre. Photo by Matthew Murphy.

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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to


The Wiz’s Eases Back Onto Broadway



There is much to love about the Broadway revival of The Wiz, which opened tonight at the Marquis Theatre. This beloved musical originally opened on Broadway in 1975, was made into film in 1978 and is back with a score by Charlie Smalls, that sparkles due to the orchestrations by Joseph Joubert and vocal arrangements by Allen René Louise. I love the Lalo Schifrin sound.

Nichelle Lewis, Melody A. Betts Photo By Jeremy Daniel

Directed by Schele Williams and an updated book by Amber Ruffin, what this revival has is heart, what it is missing is style.

Deborah Cox

Now Dorothy (a terrific Nichelle Lewis, a newcomer making her Broadway debut) has moved to Kansas to live with her Aunt Em (Melody A. Betts, who shines as  the beloved Aunt, but isn’t evil enough as the wicked witch Evillene, due in part to the sound designer Jon Weston and costume designer Sharen Davis). Dorothy has lost her parents and apparently her dog (no Toto), is being bullied, feels lost and alone, until a tornado sends her hurling to Oz. Her house still kills the wicked witch of the East, but Dorothy is introduced to golden glittery Glinda (Deborah Cox), by Addaperle ( a vocal glorious Allyson Kaye Daniel). She is sent to meet the powerful Wizard (a phenomenally grounded Wayne Brady) to get back home. Along the way meets the scarecrow (Avery Wilson) in need of a brain, the tinman (Phillip Johnson Richardson) wanting a heart and a lion (Kyle Ramar Freeman) in need os some courage.

Avery Wilson, Nichelle Lewis, Phillip Johnson Richardson Photo By Jeremy Daniel

All shine in their performances and vocals though the sound design threatens to derails them. Ms. Cox who is gloriously in voice, is not well mic’d, nor is anyone else. I was in the sixth row and it was hard to hear and I really did want to as the vocals were terrific.

Wayne Brady and Emerald City Photo By Jeremy Daniel

The choreography, by JaQuel Knight, is clunky with numbers seeming not to gel with each other. Each number looks like it belongs in a different show. However the individual performances take the movement to levels that work. Mr. Wison’s scarecrow, is all limbs and displays his flexibility and acrobatic tricks to the nth degree. Mr. Richardson gives the tinman a heart with his soulful “What Would I Do If I Could Feel”. Freeman’s lion, is an amusing scaredy cat who breaks though.

Kyle Ramar Freeman, Nichelle Lewis, Wayne Brady, Phillip Johnson Richardson, Avery Wilson wanting a heart and a lion Photo By Jeremy Daniel

Wayne Brady is a standout as The Wiz and I was wow’d by him.
Lewis is a find as the teenager trying to find herself. “Home”, is now the final song and she nails it making us fall in love with this revival despite it’s designer flaws.

The Oscar-winning production designer Hannah Beachler and costume’s look like they were designed on acid with no filter and no funding. The color choices and styles all look tacky. I really wanted to rip the tablecloth looking skirt off the lion and still do.

I have such fond memories of this show and I left with them intact. Sometimes things do not have to be perfect in order to shine.

The Wiz: Marquis Theatre, 210 W 46th Street, until April 18th.



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Barry Manilow, Bruce Sussman and More At The Museum of Broadway As Harmony Is Honored



On Thursday, April 18th Barry Manilow, Bruce Sussman, The Comedian Harmonists Sean Bell, Danny Kornfeld, Zal Owen, Eric Peters, Blake Roman and Steven Telsey, as well as Company members including Chip Zien, Kate Wesler, Kyla Stone, Matthew Mucha, Stuart Zagnit, Zak Edwards, and more TBA will be at The Museum of Broadway to unveil a brand-new window display dedicated to the Broadway musical Harmony. Barry Manilow and Bruce Sussman brought the long-forgotten story of The Comedian Harmonists, a German singing group of six young men whose fame was abruptly cut short by the rise of Nazism, to life in the 2023 hit Broadway musical Harmony.

The Museum of Broadway will honor their story with a dedicated window featuring exclusive items donated by Manilow and Sussman, and historical items dating back to the 1920s.

The program will include a special a cappella performance by the OBC Comedian Harmonists.

Harmony, featured an original new score by legendary Tony, Grammy, and Emmy Award® winner Barry Manilow with lyrics and book by Drama Desk Award Winner, Bruce Sussman. Directed and choreographed by Tony Award winner Warren Carlyle (The Music Man, Hello Dolly!), this timely and captivating rags-to-riches story lost to history came to dazzling life with a sensational cast of Broadway favorites.

Based on an unbelievable true story, the musical told the tale of the most successful entertainers you’ve never heard of. . . until Harmony. In the 1920s and 30s, The Comedian Harmonists sold millions of records, made dozens of films, and sold-out the biggest theaters around the world. Their heavenly harmonies and musical comedy antics catapulted these six talented young men from singing in the subway tunnels of Berlin to international superstardom.  What happened next was the story of Harmony.

The female-founded award-winning Museum of Broadway is the world’s first-ever permanent museum dedicated to the storied history and legendary artists, creators and stars of Broadway musicals and plays, past and present. Offering unrivaled “backstage” access, the Museum of Broadway goes behind-the-scenes to show guests of all ages how a Broadway show is made from conception to curtain call.  A one-of-its-kind entertaining and educational celebration of Broadway for the theatre enthusiast and insider alike, the Museum of Broadway transports visitors visually through centuries of time.  Experience a stunning, ever-evolving curation from the 1700s-present day one dazzling, unforgettable exhibit, costume, prop, rendering and rarity at a time. Through each piece, the Museum of Broadway honors the legacies of those who paved the way for today’s Broadway and the next generation of theatregoers and creators.

Founded in November 2022, the Museum of Broadway highlights more than 500 showstopping and hidden gem productions across three floors of exhibits.  Open seven days a week and welcoming thousands of guests weekly from all over the world, the museum also offers free educational programming, special events with your favorite Broadway casts and creatives, a membership program, merchandise from your favorite shows, and so much more. A portion of proceeds from every ticket sold is donated to Broadway Cares/Equity Fights AIDS.

Be sure to follow @MuseumofBroadway on all social channels for the latest artifact drops, special offers, events and happenings and visit to complete your perfect day on Broadway.

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Lempicka Brings An Artist Work Back To Life



In 1984, I saw the interactive show Tamara based on the life of the artist Tamara de Lempicka in LA and fell in love with it, so much so that it has stayed one of my favorites to this day. Lempicka is a new musical based more on her sexual choices than her stylized Art Deco portraits that changed and inspired generations. She was one of the first feminists, as Tamara choose art, sexual freedom and a lifestyle in a time of war and destruction.

The musical starts out on a park bench in LA as an older Tamara (Eden Espinosa) reflects on her life. Flash back to Warsaw, Poland as Tamara is to be wed to Lempicka (Andrew Samonsky) an aristocrat and is to live a life of luxury. Then the Bolshevik’s in prison her husband, she uses sexual favors to free him and they flee to Paris with their daughter. When her husband is unwilling to work she becomes a painter and uses the name Lempicka. There she is befriended by a wealthy art patron (Nathaniel Stampley) and his wife (Beth Leavel), is influenced by Marinetti (George Abu), the founder of the Futurist art movement, and is inspired and in love with Rafaela (Amber Iman). Both Lempicka and the musical come alive at this point. Tamara finds friendship and solace with a nightclub owner, Suzy (Natalie Joy Johnson), who gives her and others like her a refuge, until the Nazi’s invade. In the end, while breaking ground Lempicka’s life style becomes rather self centered or should I say one of self preservation as she loses her husband, her daughter and her lover.

Amber Iman, Eden Espinosa Photo by Matthew Murphy/Evan Zimmerman

Matt Gould’s music and Carson Kreitzer’s lyrics are well sung and the show sounds glorious. This is a new take on pop music. The problem here is the minor characters get the songs that make the show come alive. Iman, Abu and Johnson almost steal the show with their numbers. Level gets the 11 O’Clock number and breaks our hearts. Though Espinoza has some good numbers and sells them, none of them really stand out.

George Abud photo by Matthew Murphy/Evan Zimmerman)

Kreitzer also conceived the book and wrote it with Gould. Again the show does and doesn’t work. Instead of focusing on Lempicka’s art, the changing world around her and the fact that she was one of the first feminists, the story is more focused on lesbian repression. The show is billed as a triangle of love, but her husband once they get to Paris is in his own world until she gets together with Rafaela a prostitute. Rachel Chavkin’s direction makes the scenes between Rafaela and Lempicka beautiful and in a strange sense if feels a little like Indecent, however the show as a whole doesn’t jell.

Photo by Matthew Murphy/Evan Zimmerman

I did like Raja Feather Kelly’s choreography that seemed to evoke the changing world around.

Riccardo Hernández’s set of steel, seems like the world is on the verge of collapse and rebuilding. The lighting by Bradley King and projections by Peter Hylenski and Justin Stasi added to that effect. Paloma Young’s costumes missed the mark and seemed like they were in two different stories.

The reason to see Lempicka is it is sung and acted gloriously.

Once you see Lempicka, you will realize how much Tamara de Lempicka’s art change and influenced the world of art. This was a woman who survived at all costs and that should always be admired.

Lempicka: Longacre Theatre, 220 West 48th Street.
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Ken Fallin’s Broadway: The Outsiders



These boys are taking Broadway by storm Jason Schmidt, Sky Lakota-Lynch, and Brody Grant. In Tulsa, Oklahoma, 1967, the hardened hearts and aching souls of Ponyboy Curtis, Johnny Cade and their chosen family of “outsiders” are in a fight for survival and a quest for purpose in a world that may never accept them. A story of the bonds that brothers share and the hopes we all hold on to, this gripping new musical reinvigorates the timeless tale of “haves and have nots”, of protecting what’s yours and fighting for what could be.

The Outsiders opened on Broadway at the Bernard B. Jacobs Theatre, 242 W 45th Street.

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We Say Good Bye To Costume Designer Extraordinaire Carrie Robbins



I met Carrie Robbins at an art gallery with Louis St Louis, Baayork Lee and Judy Jacksina. The four of us stayed well into the morning talking, laughing and having a fabulous time. Carrie and I bonded after that as she turned to playwriting. It broke my heart to learn that on the evening of April 12, 2024 Costume Designer extraordinaire Carrie Robbins passed away.

Carrie’s work has been featured in over 30+ Broadway shows, including Class Act, Grease (original), Agnes of God, Yentl, Octette Bridge Club, Sweet Bird of Youth (Lauren Bacall), Frankenstein, Happy End (Mary Streep), Boys of Winter, Cyrano (Frank Langella), & Shadow Box (Mercedes Ruehl).

Her awards and nominations included: 2012 recipient of the Irene Sharaff Lifetime Achievement Award presented by the Theatre Development Fund & the tdf/Costume Collection with the support of the Tobin Theatre Arts Fund. 2 Tony (Noms.), 5 Drama Desks, Maharam, USITT/Prague International, L.A. Dramalogue, Henry Hughes, F.I.T-Surface Design, & Audelco, among others.

Robbins’ costumes for the Irving Berlin musical White Christmas played major cities in the USA, Broadway, and Great Britain. Her regional work included M. Butterfly and On the Verge, for director Tazewell Thompson (Arena Stage) and the Gershwin musical American in Paris by Ken Ludwig for director Gregory Boyd (Alley Theatre, Houston) as well as The Tempest (Anthony Hopkins as Prospero) & Flea in Her Ear (director Tom Moore at Mark Taper Forum), many productions for the Guthrie (MN), Williamstown, and many others from Alaska to Buffalo.

Locally, in NYC, Robbins designed for many productions for The Lincoln Center Repertory Theatre, Chelsea Theatre at BAM, Acting Company at Juilliard and NY Shakespeare Festival.

She also designed for the Opera and they included Death in Venice for Glimmerglass (’08 Prague International Design Exhibit), Samson et Dalila (San Francisco Opera, Houston Grand, more), and many productions for Sarah Caldwell’s Opera Company of Boston. Her work has also been seen at the Hamburg StatsOper.

For film Robbins designed the movie “In The Spirit” (Elaine May, Peter Falk, Marlo Thomas); TV design included: Saturday Nite Live, PBS Arts in America, & several unseen pilots.

Robbins has designed clothes for several seasons of Queen Esther Marrow and The Harlem Gospel Singers’ European Tour. She also did the designs for The Cincinnati Ballet’s new Nutcracker, in December of 2011

Robbins was an MFA grad from the Yale School of Drama and was Master Teacher of Costume Design at the NYU Tisch School of the Arts for many years. She is extremely proud of the extraordinary number of award-winning, successful young costume designers and costume teachers across the country who came out of her classes.

Besides being a costume designer Carrie also was a playwright. In August 2010, her play, The Death & Life of Dr. Cutter, a Vaudeville, based on the true stories told by her husband Dr. R.D.Robbins, had its 4th reading at the Snapple Theatre Center; it was chosen by Abingdon Theatre Co, NYC, to be part of its First Readings Series in Fall, 2009. In 2011-12 the  League of Professional Theatre Women chose The Dragon Quartet as part of its 30th year anniversary celebration. In 2012-13, La MaMa (oldest off-off-Broadway theater in NYC at 51 years) chose The Diamond Eater for its “Concert Reading Series”. In 2013: TACT (The Actors Company Theatre, chose Sawbones for part of its newTACTics New Play Festival. In 2014 both The Diamond Eater and Sawbones  received 6 Nominations from N.Y. Innovative Theatre Awards (the most nominations given out in the 2014 season). In 2015, Le Wedding Dress, was a semi-finalist in NYNewWorks Theatre Festival. In 2016: Obsessions Of An Art Student chosen by NYNewWorks Theatre Festival. In 2016, The Actress, was a finalist in NY Thespis Summer Festival. In 2017, My Swollen Feet, chosen by NY Summerfest Theatre Festival/ Hudson Guild Theatre. In 2018 The Diamond Eater , semi-finalist at the 14th St. Y competition War + Peace/2018/19 season and The Dragon Griswynd, was chosen by Theater for the New City for its “Dream-Up Festival” In 2019 Pie Lessons, was invited by Crystal Field, Exec. Artistic Director of Theater for the New City, to be part of “Scratch Night at TNC”.

The last thing Carrie was working on was For The Lost Children Of Paris. This play was about how the Nazis, with help from the Vichy Government, collected French-Jewish schoolchildren and delivered them to Auschwitz. Excellent German record-keeping revealed 11,400 children were taken. At the liberation, only 200 were found alive. This is the story of one classroom’s collection day and its aftermath.

She did this play using puppets as the children.

Carrie had a voice that she used in a multiple of ways. She was a caring friend, a dedicated teacher, a prolific writer and costume designer, who always cared about others first. Carrie you will be missed.



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