Displaying items by tag: Tiffany Renee Johnson

JaJa’s African Hair Braiding, written by first-generation Ghanaian American playwright Jocelyn Bioh and directed by Obie Award-winning Whitney White, is a vibrant celebration of the resilience, community, and complexity of West African immigrant women striving to establish their place in New York City. Currently receiving an acclaimed production at Chicago Shakespeare Theater, the play offers a poignant, colorful, and often humorous exploration of identity, survival, and aspiration in the face of challenges such as undocumented status, systemic inequities, and cultural displacement.

Set in a bustling Harlem hair braiding salon, the production immerses the audience in a world where conversations flow as freely as the braiding hands of skilled stylists. David Zinn’s set design meticulously recreates a Harlem salon, complete with brightly painted walls and posters of intricate braid designs. A steady stream of music fills the space, creating an environment that pulsates with life. Whitney White’s direction ensures every corner of this intimate setting remains vibrant with activity, embodying the controlled chaos where clients, stylists, and commerce intersect.

Bioh’s talent for crafting razor-sharp dialogue between women is fully realized here—no surprise from the playwright behind School Girls; or, the African Mean Girls Play. She skillfully weaves together a rich tapestry of personalities and cultural backgrounds, resulting in an ensemble that crackles with authenticity and charm.

At the heart of the story is JaJa, portrayed with commanding presence by Victoire Charles, and her daughter Marie, played with youthful vigor by Jordan Rice. Both Senegalese women have aspirations that stretch beyond their circumstances. Aisha Sougou’s Ndidi, a Nigerian with an encyclopedic knowledge of the soap operas playing in the salon, serves as a comedic anchor. Meanwhile, Awa Sal Secka’s Bea, a proud Ghanaian and longtime employee, offers a compelling foil to Ndidi’s antics, resisting with simmering resentment but asserting herself as the true Queen Bee when necessary. Tiffany Renee Johnson, last seen in Blues for An Alabama Sky, delivers a standout performance as Aminata, Bea’s devoted gossip partner, now preoccupied with her own troubles.

Bisserat Tseggai infuses Miriam, a Sierra Leonean longing for lost love, with a tender wistfulness, while Mia Ellis’s Jennifer spends the entire day getting her hair done and dispensing advice. Special mention must be made of the chameleon-like talents of Melanie Brezill, a standout in Stokley: The Unfinished Revolution, and Leovina Charles, who nimbly juggles six different customer roles between them, injecting each with distinct personality. Yao Dogbe, whom I last saw in Intimate Apparel, is the lone male in the cast and effortlessly steps into various roles with charm and versatility.

Illegal immigration is a central theme in JaJa’s African Hair Braiding, and Bioh handles it with nuance and compassion. The fear of deportation and the pressures of living in the shadows are palpable, yet these issues are presented with sensitivity, avoiding one-dimensional portrayals. Instead, the play highlights the characters' individuality, dreams, and relationships, reminding the audience of the humanity behind the headlines.

The artistry of Hair and Wig Designer Nikiya Mathis truly steals the spotlight in this production. As the first wig designer to receive a special Tony Award for her groundbreaking work on the Broadway production, Mathis brings her award-winning expertise to Chicago Shakespeare Theater with stunning results. Each intricate braid and carefully styled wig not only enhance the authenticity of the characters but also serves as a visual testament to the cultural richness at the heart of the story. Complementing Mathis’s work is Costume Designer Dede Ayite, whose keen eye for detail and vibrant selections beautifully capture the essence of each character, reflecting their personalities and cultural heritage with remarkable precision. Together, Mathis and Ayite create a visually immersive experience that elevates the production to new heights.

JaJa’s African Hair Braiding is a testament to the power of storytelling in illuminating the lives of those often overlooked. Through its richly drawn characters, sharp writing, and dynamic direction, the play captures the essence of a community striving against the odds, celebrating their culture while forging paths toward a better future. It’s a timely, heartfelt production that leaves audiences not only entertained but also more empathetic and informed about the realities faced by so many immigrants in America and today, don’t we need more empathy

Highly Recommended
When: Through Feb. 2
Where:  Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $30 - $90
Info:  www.chicagoshakespeare.com

Is love a commodity? Ibsen’s enduring drama “A Doll’s House” has asked audiences for over a century. Writers Theatre unveils a new 90 minute pared-down adaptation penned by Sandra Delgado and directed by Lavina Jadhwani. 

“A Doll’s House” is one of Ibsen’s most known plays. It tells the story of a society woman, Nora (Cher Alvarez) and her struggles with money. Her husband Torvald (Greg Matthew Anderson) patronizes her like she’s one of the children, as long as she plays the happy wife. All seems joyful until a childhood friend, Christine (Tiffany Renee Johnson), comes to ask a favor. Nora, though docile, has her own secrets and when a debt comes due, she must act in order to protect her husband’s reputation. 

Ibsen and Chekhov make some theatre-goers groan. Classic theatre can often be a long evening, but Delgado takes the lengthy work and shortens it down to a one-act without intermission. Her script begs the question, is that necessary? Translations can make all the difference in how we perceive classic works of literature. One translation can vastly differ from another and their authors are usually long dead. It’s hard to say if their intentions translate. In the case of Writer’s adaption of “A Doll’s House” it somewhat misses the mark. 

Performances are good, but they overshadow a wooden script. There’s a degree of inconsistency from line to line. Some dialogue is perfectly modern while other parts seem like a more literal word for word translation that leaves out most of the passion. Unfortunately streamlining this script for a 90-minute run time edited out the poetry, or any memorable strands of dialogue for that matter. This production feels more like a SparkNotes summary of the original rather than an adaptation. 

Cher Alvarez’s Nora is the heart and soul of this production. She breathes life into the clunky dialogue and by the end she’s the only character to elicit much emotional response from the audience. Her performance serves as the depth that’s missing from Delgado’s script. Greg Matthew Anderson as the doting husband Torvald, adds dimension to the character who is otherwise pretty flat. Which is just the issue here, it’s as if the playwright wrote caricatures of Ibsen characters in order to shift the focus toward a grander point about loveless marriages. That point never really solidifies and it’s up to the audience to decide what Ibsen’s intentions were. 

There’s been a renewed interest in this classic as Lucas Hnath’s Broadway smash hit “A Doll’s House Part 2” (2017) is one of the most produced plays in America right now. And there’s good reason, it’s a great modern take on the themes originally explored by Ibsen. There’s an edge to his sort of sequel. There’s no edge in this current production at Writers Theatre. For Ibsen purists, this production will be disappointing but those with a tepid interest will be rewarded by the short run time and outstanding performances. 

Through December 15 at Writers Theatre - 321 Tudor Court, Glencoe. 847-242-6000