Real Women Have Curves – Musical – Review – James Earl Jones Theatre – Shows I've Seen

@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.”