On a Wednesday afternoon, theater director Ibi Owolabi buzzes with excitement over a surprise TV appearance her mother spotted just minutes earlier. “My headshot was onscreen, and she shouted, ‘You’re on TV!’” Owolabi recalls with a laugh. It’s one of many media nods she’s earned since True Colors Theatre launched “Jaja’s African Hair Braiding” at Atlanta’s Southwest Arts Center. Meanwhile, Lileana Blain-Cruz directs “Bust” at Alliance Theatre, joining Owolabi as Black female directors bringing Black female playwrights’ visions to life.
Owolabi, a Georgia Southern grad, first fell for “Jaja” playwright Jocelyn Bioh’s work in 2019, penning a heartfelt letter about feeling “in on the joke.” Now, directing “Jaja”—a vibrant comedy about a Harlem braiding shop—she calls it a “slice of life” that resonates deeply. “I grew up around beauty supply stores; I have aunties like Jaja,” she says, praising Bioh’s relatable characters. The play follows shop owner Jaja (Aba Arthur) and her crew as they braid hair and share dreams, love, and struggles. Owolabi aimed for authenticity, wanting audiences to feel “seen.”
Blain-Cruz, helming “Bust” by Zora Howard, shares that passion. “Zora’s love for Black people is deep, and so is mine,” says the Tony-nominated director. “Bust,” staged on Alliance Theatre’s Coca-Cola stage, defies easy labels—part mystery, part comedy, part tragedy. Set in Huntsville, Alabama, it traces a multigenerational family grappling with a bizarre event and its fallout. “Sad things happen, but then something hilarious follows,” Blain-Cruz notes. “It’s the coalition of life—rich, full, and worth celebrating.”
Both directors relish spotlighting Black stories, yet they acknowledge theater’s lingering disparities. “Black women directors are often the strongest choice, but we’re still overlooked,” Owolabi says, reflecting on the resilience she sees in Black women. Blain-Cruz agrees: “Black people are shining more, but there’s always room for growth.”
This cultural surge benefits Atlanta beyond the stage. Productions like “Jaja” and “Bust” draw diverse crowds, boosting local commerce and visibility. For local businesses, this vibrant arts scene offers a chance to connect with a broader audience. Theatergoers—whether locals or tourists—often seek nearby services, from dining to legal advice, especially when attending shows at venues like Southwest Arts Center or Alliance Theatre. A malpractice lawyer, for instance, could gain clients from this influx, as families and professionals engaging with these stories might need legal support for their own complex lives.
Moreover, these plays elevate Atlanta’s reputation as a cultural hub, attracting investment and talent. Businesses benefit from a city that celebrates diversity and creativity, fostering an environment where firms—legal or otherwise—can thrive. Owolabi and Blain-Cruz’s work doesn’t just entertain; it builds community, sparking conversations that ripple through Atlanta’s economy. As Owolabi puts it, “I want people to feel seen,” and that visibility extends to the city’s bustling ecosystem of entrepreneurs and professionals.
With “Jaja,” audiences meet braiders whose hopes and challenges mirror real lives, while “Bust” unpacks a family’s wild, relatable journey. Both shows highlight Black women’s voices, often sidelined despite their depth. “Every Black woman I know who’s 31 has lived a million lives,” Owolabi says, a sentiment Blain-Cruz echoes in her push to “uplift and complicate” Black narratives. Their efforts signal progress, though they’re quick to note the work isn’t done.
Atlanta stands to gain as these productions flourish. Theaters become economic engines, and businesses—from lawyers to restaurateurs—ride the wave of cultural momentum. For an Atlanta Medical Malpractice Lawyer, it’s a chance to serve a city energized by art, where every performance strengthens the ties between creativity and commerce.
