I had the privilege of seeing the penultimate showing of Real Women Have Curves. It was my first time seeing the original cast and third time seeing a Broadway musical. I loved it and wish I could tell everyone to go see it, but it closed the next day. 

I first saw a screening of the film version of Real Women Have Curves as a senior at UCLA (2001 or 2002). I had never seen the original play by Josefina Lopez, but liked the movie. I identified with Ana in a lot of ways. I saw myself in the daughter of Mexican immigrants who loved to write and hoped to go to college. I related with the tender relationships she had with her grandfather and father. And I had grandparents who worked as gardeners and seamstresses. But the similarities ended there. I didn’t have Ana’s confidence about her body and I got along well with my mom. She supported me going to college, but not far away. And to be honest, by the time I was picking where to go, I knew I wanted to be close to home.  

Over 20 years later I saw a new version adapted for Broadway that simultaneously felt of it’s time in 1987 and also relevant to 2025. Ana is still ambitious and confident and butts heads with her mother Carmen. But she also recognizes that her status as the only citizen in her family means her family needs her in ways she really doesn’t understand. Still she supports her sister Estela’s dressmaking business while also taking on an internship for a local newspaper where she meets a cute guy. Amidst this family drama, Estela and the women in her business also fear workplace raids by la Migra. But they can’t stop that from showing up because they have a big order of 200 dresses to complete in a short timeframe.

I was touched to see how Ana, her mother, and older sister all grow to understand each other. I was in tears when Carmen gives Ana a blanket made from many dresses to take with her to New York and Ana sings, “you’re the hero of the story, mamá it’s you.” Then Carmen gives her a blessing, “Go, Ana, as far as you want. Fly, mija, we are with you para siempre y que Dios te bendiga.” I was full on sobbing at that point, just like I am writing this review – probably why I never finished the post.

The weekend I saw the play was about 10 years after I moved from LA to Ithaca. I recalled how Papá Chepe gave me and Xavi blessings at his bedside. When we got to LAX, my brother Danny gave me a big hug and my mom gave us her own blessing. Then Xavi and I walked toward security. We’d join Sean who was waiting for us after driving cross-country with my dad. There were a lot of tears.

Now this Ana, I could understand in a way that would’ve never made sense when I was 21.

If Real Women Have Curves is produced again, you must go see it. I promise, you’ll love it and be singing “Make It Work” or “If I Were A Bird” (ca-caw!) or “I Got It Wrong” again and again. Oh, and take tissues. If you’re a chillona like me, you’ll need them.

Other notes: 

• Our family has listened to the OBC multiple times. The kids’ favorite song is probably “If I Were A Bird” (because they get to say “ca-caw!” and “I’d shit on that”) and mine changes based on how I’m feeling that day.
• Xavi was a little bummed he didn’t go, but some of the jokes were pretty adult. There’s a whole song about menopause, Adios Andrés
• All props go to the creatives who designed the set and details. They were so authentic I felt like I was back in the ‘80s at my grandparents’ house in East LA. Ana’s father dressed just like my Grandpa Bartolo (flannel shirt, Dickie’s work pants, and boots) and her mom had the same apron I’ve seen on my grandmother and tías.
• The co-leads are supporting cast were all amazing. It was a real treat to see Justina Machado who was nominated for a Tony for this performance and has been in other shows I’ve enjoyed (One Day at a Time, Six Feet Under). She also originated the role of Ana in the stage version in 1992, so it was a full circle moment. Ana and Estela were played by two women making their Broadway debuts, Tatianna Córdoba and Florencia Cuenca, respectively. Florencia also made history in being the first Mexican immigrant originating a co-leading role on Broadway.
• The audience was so enthusiastic and cheering like crazy, especially for the performance of the title song, “Real Women Have Curves.”
• Latino USA has a great interview with co-leads Tatianna Córdoba and Florencia Cuenca that reflects on how hard it is to make a Broadway show successful
• Why yes writing this took me quite a while because I got sucked into a YouTube rabbit hole of videos. Enjoy!

This video features “Jugglin'”, “Flying Away” and “Daydream”