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Broadway’s “Real Women Have Curves”: A Fresh Take on a Timely Story
Translating novels and films into musicals is often a tricky endeavor, with great narratives frequently losing their essence in the adaptation process. Surprisingly, less acclaimed works sometimes succeed more readily when making the leap to the stage. Classical stories may lend themselves well to other mediums, but their stage adaptations can often dilute their original charm.
In a refreshing twist, the musical adaptation of “Real Women Have Curves,” crafted by Lisa Loomer and Nell Benjamin, significantly enhances the original screenplay by George LaVoo and Josefina Lopez. This new version captures the essence of the narrative, which revolves around Latina immigrants working in a dressmaking shop in Los Angeles, honing its focus and pacing in a way the 2002 film struggled to achieve.
Debuting at the James Earl Jones Theatre, the production, directed by Sergio Trujillo, immediately assures an engaging experience through its dynamic beginning featuring two “What I Want” songs. Even the more somber musical, “Sweeney Todd,” opens with a strong declaration of desire, showcasing the universal need for character motivation.
From the moment the curtain rises on “Real Women,” the ensemble of seamstresses vocalizes their aspirations and determination to work, a poignant reflection of their immigrant journey. Their pride in their craft is made clear in the rousing number “Make It Work.”
As the story unfolds, we meet Ana (Tatianna Cordoba), the only U.S. citizen among the group, who has earned a scholarship to Columbia University, yearning to be “Flying Away.” However, her family obligations at the dress factory create a compelling conflict with her ambitions, setting the stage for the powerful dynamics between Ana, her sister (Florencia Cuenca), and her mother (Justina Machado).
While memorable musicals often showcase their score, the unsung heroes are the book writers whose work forms the backbone of the production. Flawed scripts can diminish even the finest music, as seen in works like “Candide” and the revival of “Floyd Collins.” Conversely, strong book writing can elevate weaker scores substantially.
Luckily, the songs by Joy Huerta and Benjamin Velez are engaging and fit the narrative well, even if some melodies feel somewhat familiar. While the music invites toe-tapping, the orchestrations sometimes take on a commercialized feel, detracting from the overall impact.
Among the highlights is the show-stopping “Adios Andres,” which turns an initially dreary subplot about menopause into a comedic triumph. Justina Machado’s strong performance imbues the mother figure with humor and depth, framing her as a significant barrier to Ana’s dreams.
Amid the humor of the dress factory, “Real Women” thoughtfully acknowledges broader issues, like the poignant depiction of an immigration raid at a neighboring factory, grounding its narrative in real-world challenges.
Although Cordoba’s portrayal of Ana may initially lack focus, it flourishes during a dance with her love interest, Mason Reeves’ charming Henry. The choreography by Trujillo adds a magical quality, reminiscent of the transformative moments in “Hairspray.” Reeves’ lively performance infuses a fairy-tale essence into their connection.
In a notable shift from the film, Ana is depicted as an intern at a local newspaper, which adds a refreshing portrayal of journalism in contemporary theatre. Her budding skills as a reporter play a pivotal role in defending her coworkers from a predatory wholesaler.
“Real Women” also breaks from conventional narratives by presenting a villain who is not a stereotypical figure. Instead of a typical antagonist, the story introduces a Latina character in disguise, emphasizing that women of color can embody all facets of humanity, including the darker roles. Monica Tulia Ramirez excels in this complex portrayal.
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www.thewrap.com