In many ways, Real Women Have Curves is a throwback to simpler times for Broadway musicals. It is a traditional book musical comedy with a mostly light tone, relatable characters and a toe-tapper of a score. And it certainly makes the case that this type of show, though rarer these days, still has legs.
Based on a play by Josephina Lopez, and later an HBO movie, Lisa Loomer and Nell Benjamin's book is deft at creating solid characters that flirt with being types, but grow as the story does. Sharp and witty, there's a high laugh per minute ratio, but also plenty of sincere heart and some pointed criticism of the state on immigration in this country. Set in 1987, it really hammers home the fact that things haven't changed and may have gotten substantially worse. But it never gets too bogged down in politics, thankfully. The book also manages the impossible: virtually seamless integration of each song. The score, a delicious mix of Latin rhythms, 80's sounding orchestrations, and good old fashioned Broadway (usually all simultaneously) is delightful throughout, and to their credit, Joy Huerta and Benjamin Valez's Tony-nominated score is never repetitive, and their lyrics are character-driven and consistently clever.
Pulling it all together is the tight but gentle direction of Tony-winner Sergio Trujillo, who keeps things moving and a brisk pace with clever scene transitions and strategic use of blackouts. His choreography is exciting and equally clever. Most importantly, though, he honors the culture of the characters and the important representation of these rich and varied women. He gives everything room to breathe, allowing for the joy of the piece to shine always.
The central characters are a traditional family and a work family. That work family is a zesty group of ladies who share their world-weary-been-there-done-that wisdom with the next generation. They've had it hard, but have triumphed over their circumstances. Though all of them were truly spectacular, Jennifer Sanchez as the astrology-loving slightly naive Rosali is a riot, and Aline Mayagoitia as the newest member of the group, Itzel, really captivated my heart. The latter's poignant "If I Were a Bird" is a reminder that freedom is not to be taken for granted. The "villain" of the piece, a cold-hearted business woman, is played by Claudia Mulet with a disquieting harshness, which makes a couple of her plot twists all the more satisfying.
The family unit is the heart of the piece, including a hard-working but gentle dad (the wry Mauricio Mendoza), and struggling but successful older sister (the delightfully empowered Florencia Cuenca - her "Daydream" is a show highlight). There is also a new young man in their lives, Henry, who shares a special affection for the younger daughter, Ana. If you ever wondered how Kimberly Akimbo's Seth Weetis would turn out, here it is. Mason Reeves plays Henry with a delightful honesty, walking that fine line between cliche nerdiness and warm sincerity.
I'm sure most of you are aware that the show is struggling at the box office. I cannot recommend hard enough that this show deserves our support. It is fun and important, and will leave you walking out of the theater ten feet in the air.
📸: J. Cervantes
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