ART’s ‘Real Women Have Curves’ is joyous, uplifting
By Rich Fahey
CAMBRIDGE – The American Repertory Theater’s world premiere musical “Real Women Have Curves: The Musical” is a heartfelt, uplifting, often joyous celebration of Latino culture and the immigrant experience. It is a tribute to all those determined to overcome every obstacle society places in front of them and find happiness and success in their new homes.
It is 1987 in the Los Angeles neighborhood of Boyle Heights, and President Ronald Reagan is cracking down when it comes to immigration, targeting undocumented migrants, and conducting frequent raids of businesses believed to be employing the migrants. It was a broken immigration system then, and not much has changed since.
The garment factory owned by the Garcia family – staffed entirely by a group of undocumented female immigrants – is unbearably hot, with tensions running high with the operation constantly at risk of being shut down, and the future of the workers then put up in the air.
The musical features rousing performances by Lucy Godinez and Justina Machado in the lead roles of 18-year-old Ana Garcia and her mother Carmen. Ana dreams of attending Columbia University on a full scholarship to study journalism while her mother wants her to stay home and work in the family business.
It’s complicated. Ana is the only U.S, citizen in her Mexican-American family and has opportunities that are not available to the rest of her family, including sister Estela (Florencia Cuenca), a talented designer who runs the factory and dreams of opening a store with her own designs.
Ana’s father Raul (Edward Padilla) would like to be painting portraits but, because of his immigration status and limited education, has been relegated to painting houses.
Mother Carmen left her own family behind to come to the U.S. and now — at 51 and working since she was 13 – doesn’t have much to show for it. Still, she and Ana are at loggerheads about what is best for both Ana and the family.
The struggling Garcia factory finally gets a break due to others’ misfortune when another nearby factory is closed down by a raid, and a shady merchandiser named Mrs. Wright (Yvette Gonzalez-Nacer) gives Estela a chance to get out of debt if the women can churn out 200 dresses in just three weeks. The deal is as shaky as the woman offering it; if they miss the deadline and she won’t pay, where can they go to complain?
Even Ana is drafted to help the crew, which also includes Prima Fulvia (Sandra Valls), Pancha (Carla Jimenez), Prima Flaca (Shelby Acosta), Rosali (Jennifer Sanchez) and Izel (Satya Chavez).
The musical has what you would call “good bones.” There was the 1993 play by Josefina Lopez about a rebellious, hard-driving teen and her tradition-bound mother; then the 2002 movie that was a star turn for America Ferrara as the teen, a production that won two Sundance Film Festival Awards.
The music and lyrics are by the duo of Grammy-winning Joy Heurta of the Mexican pop duo Jesse & Joy and Benjamin Velez, with a book by American Theatre Critics Award-winning playwright and screenwriter Lisa Loomer.
Tony Award-winner Sergio Trujillo, who choreographed “Jersey Boys,” “On Your Feet” and “Ain’t Too Proud” on Broadway and directed and co-choreographed “Arrabal” for ART in 2017, artfully directs and choreographs and is a producer along with his husband and producing partner, Lynn native Jack Noseworthy. Trujillo’s experience in emigrating with his family from Columbia to Canada helped inform this adaptation.
The pop and Latin-flavored score and Trujillo’s high-stepping choreography keeps the energy of the production at a high level throughout,
Given the title of the show, the issue of the intense social pressure on women to maintain a so-called “perfect” figure is at the forefront. Ana has learned to accept herself for who she is and rejects her mother’s criticisms of her figure and comments such as Ana “could stand to miss a meal.”
The musical becomes a a joyous romp when the factory workers, of various ages and shapes, decide to make the point and celebrate the many curves of the human body. They strip down to their undergarments and dance their hearts out to the show-stopping “Curves.” Cue Trujillo’s choreography, and the number threatens to blow the roof off the Loeb Drama Center.
For the beleaguered women, it is a chance to let everything hang out and take a break with the deadline hovering over them.
There’s also a subplot with Ana attracting the attention of Henry (Mason Reeves), a reporter at the local newspaper where Ana works as an unpaid intern. He is also an upwardly mobile teen who is headed off to Wesleyan University in the fall.
But family ties are strong. Very strong. Sometimes, they are so strong they can threaten to strangle your dreams. “Real Women Have Curves” details the bumps and bruises that come along with family relationships. More than a few mothers and daughters will see themselves in the tug of war between Ana and Carmen, who both have their family’s best interests at heart.
When the final decision is made, Ana seems set to become an unstoppable force. She is determined to rise, along with her sister and the other women who have journeyed north to chase their dreams.
The American Repertory Theater world premiere production of “Real Women Have Curves: The Musical.” Based on the play by Josefina López and HBO’s “Real Women Have Curves,” screenplay by Josefina López & George LaVoo. Music and lyrics by Joy Huerta and Benjamin Velez. Book by Lisa Loomer. Directed and choreographed by Sergio Trujillo. Scenic design by Arnulfo Maldonado. Costume design by Wilberth Gonzalez and Paloma Young. Lighting design by Natasha Katz. Sound design by Walter Trarbach. Video design by Hana S, Kim. At the Loeb Drama Center through Jan. 21. Amrep.org.