Review Roundup: REAL WOMEN HAVE CURVES: THE MUSICAL at American Repertory Theater

What did the critics think of Real Women Have Curves: The Musical at American Repertory Theater?

Twenty years after the award-winning film “showed Latinas they can love themselves, no matter their size” (Pop Sugar), American Repertory Theater (A.R.T.) at Harvard University brings to the stage an empowering story that explores the immigrant experience, friendship, and big dreams. Created by an award-winning team of Latine artists, Real Women Have Curves is a show that celebrates living life out loud.

It's the summer of 1987 in Boyle Heights, Los Angeles, and after eighteen years under the roof of her immigrant parents, Ana is ready to spread her wings. Her dreams of college and a career in New York City are bursting at the seams, but her family’s expectations would keep her home working at their garment factory. Is it worth sacrificing the dreams of her family, who have sacrificed everything for her? Based on the play by Josefina López that inspired the iconic hit film, Real Women Have Curves: The Musical is an empowering world-premiere musical that explores life’s unexpected curves.  

Directed and choreographed by Tony Award winner Sergio Trujillo (Arrabal, Ain’t Too Proud, Jersey Boys), this world-premiere musical features a book by award-winning playwright Lisa Loomer (Roe; The Waiting Room; Girl, Interrupted) with additional material by Nell Benjamin and an original score by Grammy-winning recording artist Joy Huerta (from world-renowned Mexican pop duo Jesse&Joy) and Fred Ebb Award winner Benjamin Velez (Kiss My Aztec). Music supervision is by Nadia DiGiallonaro (Waitress, Pippin).  

 Featuring an original score by Grammy Award-winning recording artist Joy Huerta (from internationally-renowned Mexican pop duo Jesse&Joy) and Fred Ebb Award winner Benjamin Velez (Kiss My Aztec, The Tempest) and a book by American Theatre Critics Award-winning playwright Lisa Loomer (Roe; The Waiting Room; Girl, Interrupted), Real Women Have Curves: The Musical is based on the play by Josefina López and HBO’s Real Women Have Curves, screenplay by Josefina López & George LaVoo. Music supervision is by Nadia DiGiallonardo (Waitress, Pippin). Direction and choreography are by Tony Award winner Sergio Trujillo (Arrabal, Ain’t Too Proud, Jersey Boys). Real Women Have Curves: The Musical began performances at the Loeb Drama Center in Harvard Square, Cambridge on Wednesday, December 6, opens officially on Thursday, December 14, 2023, and runs through Sunday, January 21, 2024.  

 Lucy Godínez (she/her) leads the A.R.T. production as Ana, with Shelby Acosta (she/her) as Prima Flaca, Satya Chávez(they/she/he) as Izel, Florencia Cuenca (she/ella) as Estela, Yvette González-Nacer (she/her) as Mrs. Wright, Carla Jimenez as Pancha, Justina Machado (she/her) as Carmen, Edward Padilla (he/him) as Raúl, Mason Reeves (he/him) as Henry Cole, Jennifer Sánchez (she/her) as Rosalí, and Sandra Valls (she/her) as Prima Fulvia.   

The ensemble includes Shadia Fairuz (she/her), Elisa Galindez (she/ella), Michael Keyloun (he/him), Christopher M. Ramirez (he/him), and Arusi Santi (he/him). Amy Lizardo (she/her), Kayla Quiroz (she/her), and Gus Stuckey (he/they) are offstage swings. Sage (they/them) is Henry Cole standby.  
Lucy Godínez

Let's see what the critics have to say!

Laura Collins-Hughes, NY Times: Yet in a musical that pushes body image to the periphery, bursting into defiant song about it feels oddly out of place. With a book by Lisa Loomer, music and lyrics by Joy Huerta and Benjamin Velez, and additional material by Nell Benjamin, this ungainly iteration of “Real Women Have Curves” is primarily interested in the tensions and vulnerabilities of immigrant life.

Jacquinn Sinclair, WBUR: Much of the music is memorable, especially Godínez’s Ana and Satya Chávez’s Izel stunning duet that remains in the heart post-show. Izel, a newer arrival to the factory from Guatemala, sings about being a bird with a remarkably bright voice. Strong, clear, and persuasive, the two belt out the ballad in which they imagine taking flight with such earnestness it makes this audience member feel we can all soar.

Kitty Drexel, NE Theatre Greek: It has a little something for everyone: a song about menopause, Spanish language, cafecitos, political references (no person is illegal), queer coding, a brief makeover scene, and an awkward teenage, heterosexual romance. It is delightful. 

David Greenham, The Art Fuse: Real Women Have Curves: The Musical also shines technically, with an emphasis on the fun and festive. There is much to praise here: Arnulfo Maldonado’s colorful set, Natasha Katz’s lighting, Hana S. Kim’s projections, and spectacular costumes by Wilberth Gonzalez and Paloma Young. Special kudos to the costume change between the final blackout and a curtain call where the entire cast sparkles. It’s a fitting end to a glittering glamour of a production.

R. Scott Reedy, BroadwayWorld: Arnulfo Moldanado’s colorful and cleverly detailed set includes everything from a realistic assemblage of timeworn sewing machines to a mannequin-head-shaped mirror ball, while Wilberth Gonzalez and Paloma Young’s costume designs are colorful and character-perfect. Everything is shown off to full advantage, too, by the top-notch lighting design of Natasha Katz.

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