Tag Archives: Ensemble Theatre Cincinnati

By Katrina “Kat” Reynold

JAJA’S AFRICAN HAIR BRAIDING presented by Ensemble Theatre Cincinnati through June 22nd. I attended the Opening Night performance. 

Brianna Miller as Miriam, Elexis Selmon as Jennifer, Samantha Russell* as Marie, Candice Handy* as Aminata & Keisha L. Kemper as Bea. Photo by Ryan Kurtz.

To close out its incredible 2024-2025 season, Ensemble Theatre Cincinnati presents the Regional Premiere of Tony Award-nominated Jaja’s African Hair Braiding by Jocelyn Bioh. Set in the heart of Harlem, a lively community of West African immigrants work together and survive together. While the term “love letter” can be overused in describing a script, there is little doubt that Ms. Bioh is offering us a celebration of African culture and the common bonds those deemed “outsiders” share.

When producing a show celebrating the allure of strong, melanated women, who better to direct than the inimitable Torie Wiggins? And let me tell you, Ms. Wiggins does not make one misstep in her direction: her cast is rock-solid, her use of the playing space is as smooth as a silk press, and her attention to detail is unmatched. Resident Scenic & Lighting Designer Brian c. Mehring along with the work of Properties Curator/Design Assistant Shannon Rae Lutz are to be applauded as well. The set is an absolute work of art and gives off the exact vibe of a busy shop that has been operational for more than a minute.

Huge and well-deserved praise is due to the Costume, Hair, & Wig Designer, Tiara M. Jones. Since the action takes place entirely in Jaja’s hair braiding salon, great hair is paramount. Not only did Ms. Jones create wigs in different stages of braiding (truly flawless work), but a few of the players portray more than one character. In addition, the costume choices are nothing short of brilliant. I think we will all agree Tiara is the actual star of this show – brava!

It is an impossible task to cite any of these performing artists over another, so prepare yourselves for as much as I can squeeze into a review before you lose interest.

A.J. Baldwin (multiple roles) always has the uncanny ability to chameleon herself into any role and turn them into someone you know you know.

Beasley (multiple roles) is absolutely giving character this round and I want more.

Jasimine Bouldin delivers as Ndidi, with a well-executed accent (shout-out to Dialect Coach Debora Crabbe for her work with the entire cast) and her deliberate and precise subtleties.

Burgess Byrd glows as Jaja and owns the stage every moment she graces it. Just when you think Ms. Byrd can’t get any better, she does.

Candice Handy (Aminata) is not only a vision aesthetically, but her entire manner from the way she walks to her facial expressions are a director’s dream.

Keisha L. Kemper (Bea) is impossible to ignore and her adept depiction of her character’s complicated arc is *chef’s kiss”.

Brianna Miller is delightful as Miriam – there is absolutely nothing not to like about her!

Samantha Russell’s Marie is splendidly done; she manages to make the heavy lifting of this central character look easy and that is admirable.

Elexis Selmon as Jennifer changes before the audience’s very eyes (in more ways than one) and she simply gives us “likable” energy.

Samuel Stricklen has his work cut out – not only as the only male performer, but in making each of his characters so wonderfully distinctive. Spoiler alert: he crushes the assignment.

What else can a white girl convey about this show except it is a beautiful thing to see an ensemble of black women who gets to say exactly what they want? This is their time, their laughter, and their heartache; no hiding or dumbing it down for a society who just doesn’t always “get it”. At its very core, Jaja’s is about community, home, and heart.

I was fully engaged in this experience from start to finish and I left the theatre feeling something we do not always get to feel in today’s climate: hope. I implore Cincinnati to sell out this show every single night and to continue to talk about it long after the lights dim on this run.

Click here for more information about the production.

By Katrina “Kat” Reynolds

THE SOUND INSIDE presented by Ensemble Theatre of Cincinnati through April 27th. I attended the Opening Night performance. 

The cast of THE SOUND INSIDE presented by Ensemble Theatre Cincinnati. Photo by Ryan Kurtz.

This April, Ensemble Theatre Cincinnati is bringing audiences The Sound Inside by Adam Rapp. An enigmatic sort of tale by the playwright of Red Light Winter is summarized as the story of a creative writing professor and a gifted student who form an unexpectedly intense bond. Since there is definitely some mystery, there will be no spoilers here.

Making the trek a few blocks over from his Cincinnati Shakespeare Company home, Brian Isaac Phillips once again joins ETC as a “guest” director. Fortunately for us all, his gift travels nicely. Per usual, Mr. Phillips has his actors make excellent use of the playing space. Complementing the movement well is Scenic & Light Designer Brian c. Mehring’s execution of an almost palpably chilly backdrop (or was the heat just on the fritz opening night?). One of the best things about shows at Ensemble is that they never shy away from making grand sets and this one particularly takes advantage of the vertical space they have at their disposal. Further, projections designed by Becca Schall are pointed and used with the ideal amount of restraint.

While this show certainly belongs to one character more than another, both performing artists are exceptionally cast and non-negotiable. Playing the role of Christopher, an Ivy League freshman with creative writing aspirations, is Rupert Spraul. Mr. Spraul has a mysterious and almost impish presence on stage without being too precious. His portrayal of a young man who would keep anyone guessing is inspired.

In the role of tenured Ivy League professor, Bella, is the inimitable Annie Fitzpatrick. This may be a bold statement, but this is quite possibly one of the best roles she has ever tackled. I was drawn in from the very first words out of Ms. Fitzpatrick’s mouth and it felt like it was just the two of us, chatting over coffee. She gives the audience a master class on how to navigate the subtleties of an intimate slice of a character’s life. It is difficult to avert your eyes from her, but Mr. Spraul was just as engaging and they went toe-to-toe very nicely. (Besides, I envy a human being who can curse where it doesn’t sound nearly as offensive as when I do it.)

I have had the privilege of seeing some incredible theatre in my time – and quite a bit this season. It can be difficult to surprise me and our BTC genius, Rob Bucher. But we love when it happens and this play is definitely something to discuss. In a rare nod, this is definitely a “must see” play. It’s no picnic, however: this show is fraught with heavy topics and emotions that may re-open some previously healed wounds. While the show covers content relating to illness, mental health, and self-harm, it is for very good reason. There is a story to be told and I sincerely hope you’re there to listen and take heed of it.

Click here for more information about the production.