Real Women Have Curves – Musical – Review – James Earl Jones Theatre

@showsiveseen "Real Women Have Curves" #musical at the James Earl Jones #Theatre. Starring @Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #Review: showsiveseen.com/13073 Director/Choreo: Sergio Trujillo Music Director: Roberto Sinha Stage Mgr: Tripp Phillips and Kelly A Martindale  Book: Lisa Loomer and Nell Benjamin Music/Lyrics: @Joy and @Benjamin Velez #Broadway #hispanic #spanish #musicaltheatre #showsiveseen @Real Women Have Curves ♬ Real Women Have Curves – Tatianna Córdoba & Carla Jimenez & Florencia Cuenca & Justina Machado & Real Women Have Curves Original Broadway Company

Elevator Thoughts (aka Tweet): Real Women Have Curves musical at the James Earl Jones Theatre. Staring Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #hispanic #spanish

Recommendation:
See it!


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium to high

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely

My Synopsis (No Spoilers): Inspired by both the original play and film, the story follows Ana, a young Latina torn between familial obligations in Los Angeles and her aspirations of becoming a journalist at Columbia University in New York City. As she dreams of a future beyond the family’s garment business, she and her loved ones face mounting pressure to meet an impossible dressmaking deadline and to avoid the looming threat of deportation.

Synopsis from the Licensor or Theatre Company: But when her family’s East Los Angeles garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen’s (Tony Award nominee Justina Machado) expectations, and a community of women all trying to make it work against the odds.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: A basic familiarity with Spanish is helpful for fully appreciating the show. For example, they mentioned some common expressions like “chisme” (gossip), “de nada” (you’re welcome), “pendejo” (a rude insult term for someone foolish/stupid), and “mira” (look). There were also more specific phrases, such as “sexo cada día” (sex every day) and “dulce pica candy” (a sweet-and-spicy treat). As with many Hispanic-themed productions like Laughs in Spanish, some understanding of the Spanish language enriches the experience and feels almost expected of the audience. Additionally, you’ll probably appreciate this show more if you’ve seen the play or the movie. Personally, I saw neither, but I still heartily enjoyed the musical.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.25 hours

Other Rave(s)

  • Hook: I’m a sucker for a strong opening hook in a theatre show. The catchy “Make It Work” song absolutely delivered in grabbing my attention.
  • Script and Lyrics: The script was sharply written, filled with poignant, clever, and often hilarious lines that drew frequent reactions from the audience. For example, they said “being an immigrant is like being born in debt.” Or to a worker’s complaint that “my sewing machine is vibrating,” their coworker replied, “enjoy it!” I’m curious how much of the dialogue originated from the film versus what the book writers (Lisa Loomer and Nell Benjamin) and lyricists (Joy Huerta and Benjamin Velez) crafted.
  • Broadway Bares: In the song “Real Women Have Curves,” the performers stripped down to their underwear as a bold, celebratory act of body positivity. They showcased a diverse range of bodies without the pressure to appear flawless on stage, on screen, or in photos. The cast included a plus-sized actress proudly wearing a muumuu and a woman dressed in butch lesbian underwear, further challenging narrow female standards. This act resonated with the audience and earned a standing ovation.
  • Menopause: In “Adios Andrés,” the cast sang a grandiose, uproarious ode to menopause. The moment echoed the spirit of Menopause the Musical, with its cheeky humor and unabashed celebration of womanhood.

Other Musing(s) and Observation(s)

  • Love Interest: Initially, I found it refreshing that the story didn’t revolve around a love interest. When one was introduced later on (played by the delightful Mason Reeves), it felt more like a side dish than the main course. It was easily ignorable and not central to the plot. However, the sex scene, though amusing with its quirky reporter role-play foreplay, felt out of place in the script. I would have been more impressed if the musical had fully committed to leaving out a romantic subplot crutch altogether. That bold choice would have made it stand out even more.
  • Ending Solution: I kept wondering how they’d pull off completing their dressmaking order deadline by the end of the show. The way it was resolved felt a bit anticlimactic and underwhelming. It missed a clever inventive twist that would’ve made for stronger storytelling.
  • Previous Works: Having never seen the original film or play, I wonder how they compare to this musical adaptation. I’m especially curious whether the earlier versions emphasized immigration and familial obligation themes as strongly as this one does. I was surprised by how little focus the musical placed on body positivity, which I had expected to be more central given the title. If you’ve seen the earlier versions of this story, let me know your thoughts in my social media comments!
  • Investment: The workers’ decision to hand their hard-earned paycheck back to the boss for business reinvestment left me baffled. Unless you’re a shareholder, why wouldn’t you keep it? Aren’t these people poor?
  • Tough Decision: Ana’s central conflict felt a bit like a no-brainer. She was torn between owning the family business (which promises more likelihood of financial stability and independence) vs pursuing a career as a journalist (which sounds as difficult as becoming a successful actor). If it weren’t for the full scholarship to an Ivy League university, the pragmatic part of me would have thought she should have just stayed home. But alas, “follow your dreams” is a better story.
  • Potential Future Production: It’s a shame this production is ending this weekend on Broadway. But, it could be a strong future fit for Seattle Repertory Theatre, especially given the theatre’s recent embrace of Latin-centered works like Quixote Nuevo, I’m Not Your Perfect Mexican Daughter, Laughs in Spanish, and In the Heights. Beyond thematic alignment, it’s the kind of script that speaks to Seattle’s enduring appetite for art that confronts cultural identity while nursing a warm cup of “white privilege guilt.”

Venue: James Earl Jones Theatre

Venue Physical Address: 138 W 48th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $125 to $319

Dates: 4/1/25 to 6/29/25

Seating: Assigned Seating

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Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.

Tatianna Córdoba and Company. Photo Julieta Cervantes.
Mauricio Mendoza and Justina Machado. Photo Julieta Cervantes.
Florencia Cuenca Tatianna Córdoba and Justina Machado. Photo Julieta Cervantes.
Tatianna Córdoba and Aline Mayagoitia. Photo Julieta Cervantes.
Real Women Have Curves Company. Photo Julieta Cervantes.
Mason Reeves and Tatianna Córdoba. Photo Julieta Cervantes.
Florencia Cuenca and Company. Photo Julieta Cervantes.

Always … Patsy Cline – Musical – Review – Taproot Theatre

@showsiveseen Happy closing show last weekend to the "Always … Patsy Cline" #concert #country jukebox #musical production at @TaprootTheatre. Featuring the charming effortlessly-polished vocals of @Cayman Ilika with sidekick narration by @Jaegerlicious. Elegant nostalgic costumes by Brynne Johnson-McKeen. Magical ballads. #Review: showsiveseen.com/13017 Photos: Robert Wade Director: Karen Lund Stage Mgr: Cassie Fitzgerald Conductor: @Evan Barrett #HonkyTonk #countryMusic #PatsyCline @Patsy Cline #theatre #musicalTheatre #showsiveseen ♬ Gotta Lot of Rhythm in My Soul – Patsy Cline

Elevator Thoughts (aka Tweet): Happy closing show last weekend to the Always … Patsy Cline concert country jukebox musical production at Taproot Theatre. Featuring the charming effortlessly-polished vocals of Cayman Ilika with sidekick narration by Kate Jaeger. Elegant nostalgic costumes by Brynne Johnson-McKeen. Magical ballads. #HonkyTonk #countryMusic

Recommendation:
See if you enjoy either 1) Patsy Cline’s music, 2) honkytonk music similar to The Best Little Whorehouse in Texas, 3) concert style musicals with less of a story like Six 4) or shows with 1 or 2 actors.


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Probably not, but it was good.

Mainstream Appeal: Low to medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Probably

My Synopsis (No Spoilers): Inspired by true events, this heartfelt tale follows a devoted Patsy Cline fan whose unexpected chance encounter with the country music legend blossoms into an unlikely friendship.

Synopsis from the Licensor or Theatre Company: Journey through the joy and heartbreak of Patsy Cline’s groundbreaking career through her unlikely friendship with her biggest fan. With unforgettable songs including “Walkin’ After Midnight,” “I Fall to Pieces,” and “Crazy,” you’ll experience the power of love, longing, and friendship. It’s time to kick off your boots and dance!

Type: Concert-style Jukebox Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: Obviously, you’ll appreciate this show more if you’re familiar Patsy Cline’s discography. I personally only knew the songs that Norah Jones covered, but I still enjoyed the musical.

Defined Plot/Storyline: While there was a story, it wasn’t very substantial. It was more of a framework to showcase Patsy Cline songs.

Live Band/Orchestra: Yes

Union Actors: 2

Total Actors: 2

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 1.75 hours

Other Rave(s)

  • Cayman Ilika: Cayman Ilika’s bluesy voice was unquestionably the highlight of the production. Her sound is distinct and deeply resonant, with a rounded, almost operatic pronunciation that feels both effortless and assured. There’s a confident steadiness to her polished delivery infused with a charming, old-time elegance reminiscent of the transatlantic accent. It brought to mind her memorable performances in White Christmas and Kiss Me, Kate at The 5th Avenue Theatre.
  • Ballads: There were magical moments during the ballads, especially “You Belong to Me” when Cayman Ilika (as Patsy Cline), dressed in a shimmering black gown, took the stage at the Esquire Ballroom with heartfelt elegance. These moments would have been perfect in a lounge venue like Triple Door (where the venue could have earned a pretty penny on drink service during the show) instead of a theatre.
  • Costume Design: Costume designer Brynne McKeen dressed Patsy Cline in elegantly vintage ensembles that perfectly captured the charm of the era. The pieces were both stylish and nostalgic.

Other Musing(s) and Observation(s)

  • Small Cast: Although the production featured two performers, it frequently felt like a one-person show.
  • Relatability: As a (relatively) young(-ish) person of color, I found it difficult to connect with the script, music, and story. A meaningful way to modernize the piece might be to intentionally cast at least one of the roles with an actor from a more diverse racial background. Doing so could help open the narrative to a wider audience without compromising its core.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

Venue Physical Address: 204 N 85th St, Seattle, WA 98103

Dates: 5/14/25 to 6/21/25

Seating: Assigned Seating

Parking: Paid lot or usually-free street parking. I always find free street parking on Greenwood Ave just South of the theatre.

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Pictures: See production pictures below by Robert Wade.

Cast and Production Team: See after pictures below.

L to R: Cayman Ilika and Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
Cayman Ilika in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
L to R: Kate Jaeger and Cayman Ilika in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
L to R: Cayman Ilika and Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
Cayman Ilika in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.
Credits from the Encore printed program.
Credits from the Encore printed program.

Preview Post – Smash – Musical – Imperial Theatre

Smash Broadway musical at the Imperial Theatre. It’s a dang shame it closes this weekend 6/22/25. Don’t wait for my full review to buy tickets! #methodActing #marilynMonroe

Tickets: https://smashbroadway.com

Final Full Review: https://www.showsiveseen.com/smash-musical-review-imperial-theatre/

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Preview Post – Beau the Musical – Out of the Box Theatrics & Theatre 154

Beau the Musical by Out of the Box Theatrics. Performing off-Broadway at NYC’s Theatre 154 till 7/27/25. Stay tuned for my full review. “I don’t repeat myself!” #lgbt #queer #gay

Tickets: https://www.beauthemusical.com/

Final Full Review: https://www.showsiveseen.com/beau-the-musical-review-out-of-the-box-theatrics-theatre-154/

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Preview Post – Real Women Have Curves – Musical – James Earl Jones

Real Women Have Curves musical at the James Earl Jones Theatre in the NYC Broadway district. Full review coming soon, stitched with love like the dresses. #Mexican #hispanic #spanish

Tickets: https://www.realwomenhavecurvesbroadway.com/

Final Full Review: https://www.showsiveseen.com/real-women-have-curves-musical-review-james-earl-jones-theatre/

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