Dominique Thorne, a true luminary talent, made her captivating Broadway debut performance as Marie in Jaja’s African Hair Braiding. She skillfully embodies Marie, seamlessly merging comedy, insight, and sorrow in her performance. Dominique’s portrayal powerfully breathes life into the untold immigrant stories, leaving the audience in awe of her remarkable talent.
Dominique’s artistic journey can be traced back to her humble beginnings as a student at the Professional Performing Arts School and MCC Theater, where she first delved into the world of acting. Dominique’s commitment to excellence in the artistry garnered her prestigious accolades. She proudly earned the title of U.S. Presidential Scholar in the Arts and was the recipient of the 2015 YoungArts Award for Spoken Theater. Beyond her creative roots, it is her rich immigrant heritage from the twin islands of Trinidad and Tobago that has provided her with a unique perspective sculpting her into the multifaceted artist we witness today.
Thorne’s journey from her introductory role as Puck in A Midsummer Night’s Dream at the Professional Performing Arts School to this defining breakthrough performance is evidence that this is more than just a debut. It is a homecoming and a long-anticipated full-circle moment that stands as a heartwarming testament to her deep love of theater. Today, her connection to theater and relentless pursuit of excellence continues leading her to this remarkable milestone.
Jaja’s African Hair Braiding immerses the audience into the lives of West African immigrant entrepreneurs on a hot summer day at a lively Harlem salon. The women in the shop work their magic while exchanging stories about love, harsh realities, and dreams, creating a relatable experience. This storytelling gem, written by Ghanaian-American playwright Jocelyn Bioh and directed by Obie Award winner Whitney White, effortlessly combines moments of comedy and drama with a skilled cast.
The Knockturnal had the privilege to speak with the exceptionally skilled Dominique Thorne. Our conversation delved into her exciting journey to Broadway, her pivotal role in Jaja’s African Hair Braiding, and more!
The Knockturnal: Congrats on your Broadway debut. How does it feel to be a part of the Broadway community and to represent immigrants and their stories in such a fun and purposeful way?
Dominique Thorne: Oh man, thank you, first of all. It’s such a blessing. I feel like that’s the only word that is close to touching what I feel and what all of this means to me, at this point in my life.
It also feels like… I’m feeling the weight of the responsibility of being an actor. I remember there was a period where I thought, if I’m so bold to decide I want to tell other people’s stories on screen or on the stage and if I’m going to make that commitment, I felt that should come with a certain level of humbling and a certain level of pride at the same time so you can commit yourself to doing that honestly. I think with this story, the truth of it hits so hard and hits so close to home that there’s no room to feel anything other than the responsibility to do that as truthfully as I can. So, it’s a huge blessing and it also feels like a reminder of what an honor and a privilege it is to be trusted with a story like this.
The Knockturnal: Can you tell us about your character and what she represents?
Dominique Thorne: Yes, I play Marie. She is the daughter of Ja-Ja. I would describe her as dutiful, and a force, I’d say in her own way. She’s a leader in a space that doesn’t always clear a path for her leadership but she finds a way to lead nonetheless.
I’d say in this story, she represents the story of so many immigrant children, so many first-generation children, and what it means to dream and to believe that you are worth those dreams. That you deserve to experience those dreams, and also what it means to be excellent. She shoulders such a massive burden at such a young age, and yet she does a fabulous job of being a leader in this space.
As we learn, she does a fabulous job of excelling at school and whatever her other commitments are. She’s really an excellent young child who’s striving for a future as bright as she is.
The Knockturnal: What aspects of your character do you find most intriguing or challenging to portray?
Dominique Thorne: Honestly, it’s being able to balance her energy within and amongst the energy of all the other braiders in the shop. We are truly taking a slice of life and putting it on stage for those who step into the theater and as in life, the shop is filled with so many vibrant, strong personalities.
All of which, you know, are deserving of shining as brightly as they do, but then what does it mean for this girl who’s definitely the youngest among them all to also take up space? What does it look like for her to take up space in a room like that? What does it look like for her to share this place that is really a home to the women in so many ways, in a way that conveys the familiarity and the safety that home provides the audience a sense of comfort and ease with which she can command attention or command time or make demands of the other women in a space that she also feels comfortable in.
The Knockturnal: Rehearsing for a Broadway show must be intense. Could you share any special preparation or techniques you’ve used or learned during this process?
Dominique Thorne: I would say for me, the most important thing was my vocal preparation. I was well aware that being on stage requires you to utilize your body as a holistic instrument, like the full instrument that your body is, and that’s what I love most about theater. That’s what I was most eager and excited to return to, that’s what I was longing for. I was most excited to jump into vocal readiness and go on the journey of getting back to that.
Getting back to a state where my voice is strong enough and healthy enough to do this job eight times a week for however long we’re able to run. I met with a vocal coach as soon as I moved back to New York in July.
I started training, just putting the reps in, meeting with her twice a week and waking this throat back up, waking the diaphragm back up, and titillating those vocal cords. Just really getting back into it in addition to the fabulous vocal training that was provided for us at the theater.
It’s the combination of those two vocal workouts alongside me returning to a more intentional movement of the body in my everyday life that I think really prepared me. Since I was on summer vacation, I was not doing the typical things I do when it’s time for a job.
So knowing that I was returning into work mode, getting back into regular daily yoga practice, for example, and just other ways to move my body so that my whole being is truly connected and ready for whatever the job requires.
The Knockturnal: Last question, What do you hope the audience will take away after seeing this play?
Dominique Thorne: I’d say a sense of respect, if I’m being greedy, would be my ultimate wish here. The words that we’ve been using in the rehearsal room and throughout this process, amongst the cast has been silent dignity. So either reminding or educating folks on what the demands of that type of dignity can be, what they can look like, and what it requires to lead your life with that type of dignity but also to do it silently without claims for attention or anything like that.
And that, when people learn about the reality of so many people here in the city, the reality of so many folks who provide a service for us here in the city. What it can look like and what it must feel like to really step into their lives, to humanize them for those who struggle with that.
I think also just to give a sense of encouragement for those who are ultimately familiar with that, those for whom I believe this story is written, so they are given a moment of recognition to say, “Hey, look, we see you, we love you, we are inspired by you, you are worthy of respect, you are the boss that you desire to be, you are that already”
Really again, the ultimate wish is that people can walk away from this, knowing that the city is only as vibrant as it is because of the people who come here to make it that. That’s always been what has made New York special. It’s a melting pot or a salad bowl of so many different cultures. There’s an endless amount of ethnic enclaves to find in the city.
And within each of them and across all of them, this story is so true and it’s so central for many of them. It’s a little bit of a reminder when folks leave the theater and they step back out into the city streets, that this is a group effort. Everyone who’s coming together to make this city what it is is deserving of love, respect, and empathy, which I no doubt believe many folks who watch the show want to give to the characters.
Jaja’s African Hair Braiding is currently open for previews ahead of its October 3rd opening night at the Samuel J. Friedman Theatre until November 5. Click here for tickets!
UPDATE: The run of Jaja’s African Hair Braiding has been extended for a second time, making the new closing date November 19. Click here for tickets!
