Latest news with #RealWomenHaveCurves'
New York Post
27-05-2025
- Entertainment
- New York Post
'Real Women Have Curves' on Broadway: Where to buy tickets, thoughts
Vivid Seats is the New York Post's official ticketing partner. We may receive revenue from this partnership for sharing this content and/or when you make a purchase. Featured pricing is subject to change. Broadway musicals typically don't receive mid-show standing ovations. However, sometimes songs within these professional productions are so good, so powerful and so raw, the only defense the audience has is to stand and cheer. Nearly three quarters of the way in to the show-stopping 'Real Women Have Curves,' our ensemble busts out the show's title track while ahem busting out of their tops while working in a sweltering factory. They're doing everything they can to finish an order to complete 200 dresses in time to meet an impossible deadline. Advertisement While the scenario is tense, our heroines are having a blast. At the show I attended, the crowd was too. When the tune concluded, a wave of appreciative fans stood and emphatically cheered. Then, we took our seats and the show continued. That was just one of many unforgettable moments in this boisterous, crowd-pleasing musical at the James Earl Jones Theatre in Midtown Manhattan. 'Real Women Have Curves,' which is based on the 2002 film starring America Ferrera and George Lopez, opened on Broadway this past April. In the month since its opening, the musical has netted two Tony nominations for Best Featured Actress in a Musical for Justina Machado and Best Original Score yet that undersells the jubilant, uplifting energy emanating from director Sergio Trujillo's stage. What's it like to see this emotionally satisfying one-of-a-kind show live? Advertisement Well, let's start before the curtain comes up. The James Earl Jones Theatre Upon entrance at the recently-renovated James Earl Jones Theatre, one quickly notices how intimate the 1,082-seat space is. The seats in the balcony are spacious but they're all close to the stage. Even if you're in the last row, you're not too far from the action. That's hardly the venue's best feature though. According to Playbill, 'the newly constructed wing off the building's western face with a grand staircase, elevator, accessible bathrooms, concession areas, lounge, dressing rooms, and rehearsal space' are just a few of the Theatre's features that got a facelift. Advertisement Once you've taken stock of the amenities, you'll notice a colorful, tropical backdrop onstage that evokes a sunny summer day. The mood has been set. 'Real Women Have Curves' summary 'RWHC' tells the story of 18-year-old Los Angeleno Ana Garcia (the magnetic Tatianna Córdoba). She dreams of attending Columbia University in NYC, which she has been accepted into on a full scholarship. The only problem is her mother, Carmen (Tony-nominated Justina Machado), wants her to stay and work with her and her older sister Estella (pitch-perfect Florencia Cuenca) tailoring dresses. Another sticking point? Ana is the only U.S. citizen in the family and is needed for handling the bureaucratic issues of everyday life. The tension boils to a fever pitch when a buyer asks Estella — who runs the business — to accepts an offer to produce 200 dresses in just two weeks. This seemingly impossible task forces the family to look deep within and figure out what they really want. While that workmanlike plot provides a narrative engine, the charming immigrant characters and body-positive, empowering message is what makes the timely story resonate. Thoughts on 'Real Women Have Curves' Advertisement We'll be honest. The hero's journey within 'Real Women Have Curves' is nothing to write home about. Yet, the stock story flies by thanks to emotive performances, lively songs and heavy-hitting social weightiness. In this case, the 'finish a job by a deadline!' plot is a blank slate to draw upon; 'Real Women Have Curves' is all about the artistry in the margins, which elevates the tale at hand here. What we loved All throughout the show, multi-cam sitcom-type jokes hit hard. When Pancha (Carla Jimenez delivering a breakout star-making performance full of gravitas and panache) says 'say adiós to Andres' when Mrs. García realizes she's going through menopause, the James Earl Jones Theatre erupted. This wasn't just a laugh, this felt more like a gut-busting conversation with a friend. These characters weren't just stand-ins. They're real, relatable people who could be your neighbors, cousins, pals. It's that verisimilitude that kept the crowd engaged for the two-hour-plus runtime. As lived-in as the show is, it should be noted that 'Real Women Have Curves' is also a dynamic musical. The production's opening tune, the 'Make It Work,' is a singalong 'In The Heights'-esque ear worm and brings the text to life through song. Not only do we get a sense for how these dressmakers have to make things work with their limited resources, we feel it through the energy coursing through the theater, which at times felt more like a concert than a Broadway musical. And let's not forget the amazingly executed sequences within the musical. A punchy back-and-forth between young Ana and the blonde buyer wasn't original — we won't spoil why — but plays out so effectively, it's hard not to marvel at how well-constructed the dialogue and blocking is. On a technical level, 'RWHC' makes the most of its charming, DIY sets. The factory, house and restaurant roll in and out effortlessly taking us from scene to scene without a hitch. While other productions rely on outsized theatrics, this musical proves you don't need spectacle to deliver top-notch drama (and comedy). Final verdict 'Real Women Have Curves' is an effectively told crowd pleaser that the cast and crew really 'make work.' Universal themes like family, dreams, youth, generationally trauma pulse throughout the heartwarming, emotionally satisfying musical that overcomes its pitfalls and most hackneyed ideas (and slightly overlong runtime) thanks to excellent performances, laugh out loud punchlines and party-starting, dance-floor ready songs that will melt even the most cynical of audience members. Advertisement The good here is great and more than outweighs my minor quibbles with the musical. Given the opportunity, you should actually go. Just be wary, you may be moved to deliver a standing ovation mid-show. 'Real Women Have Curves' schedule As of now, 'Real Women Have Curves runs eight nights a week from Tuesday through at New York City's James Earl Jones Theatre. Matinees go down Wednesdays (2 p.m.), Saturdays (2 p.m.) and Sundays (3 p.m.). The production goes dark on Mondays. Advertisement At the time of publication, the show will run until Oct. 5, 2025. If you'd like to snag seats to the show of your choosing, you can find seats for all upcoming 'Real Women Have Curves' shows here. The show runs two hours and 20 minutes with a 15-minute intermission. 'Real Women Have Curves' cast For those that want to match names to faces, here's a bit about each of the five biggest players in the 'Real Women Have Curves' cast, courtesy of the musical's website. Advertisement Tatianna Córdoba (Ana García) Tatianna is SO excited to be making her Broadway debut! This Bay Area native is a proud Latina/Filipina who received a BFA in Musical Theater from Boston Conservatory. HUGE thank-you to the DGRW family, the Córdoba 5, Joe, and the RWHC team for believing in her. Justina Machado (Carmen García) A talented and versatile actress, Justina Machado continues to endear audiences and earn critical acclaim working on stage, television, and film. She stars in Netflix's upcoming 'Pulse' and was previously in Prime Video's 'The Horror of Dolores Roach.' She is best known for her work in 'One Day at a Time' and 'Six Feet Under.' On stage, Machado previously held roles in A Free Man of Color and In the Heights. She was nominated for an Elliot Norton Award for her role in Real Women Have Curves by the Latino Chicago Theatre Company. Florence Cuenca (Estela García) Broadway debut! First Mexican immigrant to originate a co-leading role in a Broadway musical. Original Real Women Have Curves ART cast. Off-Broadway: A Never-Ending Line, Children of Salt. Projects: Broadway en Spanglish (Concord), Lincoln Center, Little Island, MASS MoCA. Gracias, IKIGAI Management. Para mi familia. Jaime & Alonzo los amo todo siempre. Mauricio Mendoza (Raúl García) Notable roles include regional theater: Addams Family, Nine, Anna in the Tropics, In the Heights. TV/Film: 'Resurrection Blvd.', 'Matlock,' 'The Oval,' 'Reboot,' 'The Santa Clauses,' 'Criminal Minds,' 'NCIS,' Blow, Ruthless. Proud member of Actors Equity, AFTRA-SAG, and PGA. Co-Owner of True Form Films with his wife, Yeniffer Behrens. Advertisement Jennifer Sánchez (Rosalí) A few of Sánchez's biggest parts include work on Broadway: Elf, The Rose Tattoo, Pretty Woman, Sunday in the Park With George, On Your Feet!, Spider-Man, Ghost, Women on the Verge, West Side Story. Off-Broadway: The Alchemist. Film: Kiss of the Spider Woman. 'Para mi familia, Sánchez y Padilla.' Tony-nominated Broadway musicals Hoping to catch a few more musicals in Midtown before Tony Sunday? In that case, here are just five you absolutely won't want to miss live these next few months. • 'Death Becomes Her' • 'Sunset Boulevard' • 'Maybe Happy Ending' • 'Dead Outlaw' • 'Just In Time' Still need even more? Take a look at our list of all the 2025 Tony-nominated shows on Broadway to find the one for you. This article was written by Matt Levy, New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements from your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed a Bruce Springsteen concert and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change
Tatler Asia
09-05-2025
- Entertainment
- Tatler Asia
14 Mother's Day movies that make moms feel seen
2. 'Stepmom' (1998) When a marriage breaks down, no one is more affected than the children. This emotional tale features a soon-to-be stepmom struggling to find her footing within her impending life and a terminally ill mother who's just coming to terms with her divorce and missing out on her children's future. Eventually, Isabel (Julia Roberts) and Jackie (Susan Sarandon) reach mutual ground. The film sensitively navigates themes of acceptance, blended families and the unbreakable bonds of maternal love. 3. 'Real Women Have Curves' (2002) What is it about coming-of-age stories and motherhood? Based on a play, it follows a Mexican-American teenager, Ana Garcia (America Ferrera), as she navigates cultural expectations and body image. Her relationship with her mother, marked by both tension and deep love, highlights the complexities of maternal influence. This film is an underrated gem and a must-watch on your list of favourite Mother's Day movies. Also read: Mother's Day gift guide: 5 thoughtful presents for your mum and the maternal figures in your life 4. 'Anak' (2000) In this poignant Filipino drama, Josie (Vilma Santos) leaves her homeland to work as a domestic helper in Hong Kong, aiming to provide a better future for her family. Unbeknownst to her, her husband passes away during her absence. Upon her return, she faces resentment from her children, especially her eldest daughter, Carla (Claudine Barretto), who feels abandoned. The film details the emotional toll of overseas work on familial relationships, highlighting the sacrifices made by many Filipino mothers. 5. 'The Meddler' (2015) Marnie Minervini (Susan Sarandon), a recent widow, moves to Los Angeles to be closer to her daughter, Lori (Rose Byrne). Her well-intentioned involvement in Lori's life leads to humorous and heartfelt moments, showcasing the challenges of letting go and the enduring nature of maternal care. 6. 'The Joy Luck Club' (1993) Adapted from Amy Tan's bestselling novel, The Joy Luck Club is a touching and sweeping portrait of eight women—four Chinese American daughters and their immigrant mothers—who navigate the rift between two cultures and generations. At its heart, the film is a celebration of motherhood in all its complicated glory. From Suyuan Woo's (Kieu Chinh) quiet sacrifices to Lindo Jong's (Tsai Chin) fierce pride, each mother imparts lessons wrapped in pain, resilience and unspoken love. Their daughters, worlds apart in language and lifestyle, grapple with inherited trauma and expectations, learning that their mothers' silence was often an armour forged by history. This one is a must when you're planning a marathon of Mother's Day movies. 7. 'Tokyo Sonata' (2008) This Japanese drama portrays the disintegration of the Sasaki family after the patriarch loses his job. Megumi (Kyōko Koizumi), the mother, struggles to maintain normalcy amidst the family's unravelling. Her quiet resilience and eventual assertion of independence offer a compelling look at a mother's role in a changing family dynamic. 8. 'Everything Everywhere All at Once' (2022) In this chaotic, genre-bending multiverse epic, Michelle Yeoh gives a career-defining performance as Evelyn Wang, a weary laundromat owner burdened by taxes, regrets and a drifting connection with her daughter, Joy (Stephanie Hsu). But when the multiverse cracks open, Evelyn becomes an unlikely heroine in an absurd, high-stakes journey to reclaim her relationship with her child. Through hot dog fingers and bagel metaphysics, Everything Everywhere All at Once becomes a breathtaking metaphor for generational disconnect and reconciliation. Evelyn's arc (equal parts kung fu master, existential philosopher and immigrant mother) is a tribute to the unglamorous, everyday heroism of motherhood. In all its messiness and beauty, she shows that being a good mother means embracing chaos and choosing love in every universe. 9. 'A Quiet Place' (2018) You wouldn't expect a list of Mother's Day movies to include a horror film, but there's nothing like terror to bring out one's maternal instincts. In a post-apocalyptic world inhabited by sound-sensitive creatures, Evelyn Abbott (Emily Blunt) strives to protect her family in silence. Her fierce determination and sacrifices underscore the primal instincts of motherhood in the face of unimaginable threats. 10. 'Mother' (2009) Directed by Oscar winner Bong Joon-ho, this thriller follows a devoted mother (Kim Hye-ja) whose intellectually disabled son, Do-joon (Won Bin), is accused of murdering a young girl. Convinced of his innocence, she embarks on a relentless quest to uncover the truth. The film explores the depths of maternal devotion, questioning the lengths a mother will go to protect her child. See more: Bong Joon-Ho confirms 2 sequels to his Oscar-winning movie, Parasite 11. 'Terms of Endearment' (1983) Aurora Greenway (Shirley MacLaine) is a widowed, sharp-tongued mother whose love for her daughter Emma (Debra Winger) is as intense as it is meddlesome. Spanning 30 years, their relationship is a whirlwind of bickering, reconciliation and razor-sharp affection, tracking Emma's life choices and Aurora's reluctant growth into vulnerability. MacLaine and Winger's chemistry makes this not just a tearjerker, but a sharply observed portrait of a mother who can't help but smother. Let's not forget the daughter who both resents and needs it. 12. 'Mother India' (1957) An epic portrayal of maternal strength, this classic film features Radha (Nargis Dutt), a woman who endures immense hardships to raise her sons after her husband's departure. Facing poverty and societal challenges, Radha's unwavering moral compass and sacrifices epitomise the archetype of the selfless mother. 13. 'The Babadook' (2014) Amelia Vanek (Essie Davis) is a grieving widow and single mother whose son, Samuel (Noah Wiseman), is spiralling into fear and paranoia over a mysterious storybook monster. But as the Babadook's presence grows more menacing, the film reveals itself as a chilling allegory for depression, trauma and the isolating intensity of motherhood. Amelia's exhaustion is palpable and her patience thin, but her fight is relentless. The Babadook doesn't just terrify—it lays bare the raw, unspoken truths of maternal despair and the herculean task of showing up for your child even when your world is falling apart. 14. 'Pieces of a Woman' (2020) Martha Weiss (Vanessa Kirby) is a woman whose world shatters after the loss of her newborn during a home birth. What follows is a slow, aching unravelling of her identity as a mother, partner and daughter, made even more complex by her domineering mother (Ellen Burstyn). The film is less about resolution and more about the quiet, unbearable persistence of grief and the fractured, imperfect ways women try to hold each other (and themselves) together. Don't miss: 8 fantastic fashion moments from Vanessa Kirby
New York Times
30-04-2025
- Entertainment
- New York Times
Corrections: April 30, 2025
An item in the Dateline feature on April 27 referred incorrectly to Wiltshire, England. Wiltshire is a county, not a village. An article on Tuesday about a missile strike that hit a migrant facility in an area of northern Yemen described incorrectly the operations of the International Committee of the Red Cross in Saada. The organization still operates there; it did not withdraw this year. An article on Tuesday about a major power outage that hit Spain and Portugal on Monday misidentified Pedro Sánchez. He is the prime minister of Spain, not the president. An article on Tuesday about distrust of the new government among the Kurdish community in Syria misstated the location of the city of Aleppo in Syria. It is in the northwest, not the northeast. An article on Saturday about the Broadway musical 'Real Women Have Curves' misstated where Tatianna Córdoba grew up. She grew up in California's Bay Area, not Los Angeles. An article on Monday about the Broadway musical 'Floyd Collins' misstated details about the premiere of the show. It premiered in 1994 in Philadelphia, two years before it made its Off Broadway debut at Playwrights Horizons. An article on Sunday about the Charles H. Wright Museum of African American History coming under attack from the Trump administration for its focus on diversity misquoted Vera Ingrid Grant, the guest curator of an exhibit at the Charles H. Wright Museum. She described the exhibition as a 'panoply of art,' not a 'canopy of art.' An article on Sunday about a new citywide exhibition called the Boston Public Art Triennial, relying on outdated information, misstated the title of Nicholas Galanin's sculpture at the Boston Public Art Triennial. It is 'I think it goes like this (pick yourself up),' not 'I Think a Monument Goes Like This.' An obituary on Sunday about the keyboardist and studio operator David Briggs misstated the year that Mr. Briggs joined Elvis Presley's band TCB. It was 1969, the year the band was formed, not 1966. An obituary on Tuesday about the basketball Hall of Famer Dick Barnett misstated the number of points Walt Frazier scored for the victorious New York Knicks in Game 7 of the 1970 N.B.A. finals against the Los Angeles Lakers. It was 36, not 37. Errors are corrected during the press run whenever possible, so some errors noted here may not have appeared in all editions.
Washington Post
28-04-2025
- Entertainment
- Washington Post
A musical comedy about immigrants when we need one most
NEW YORK — Theater usually lags behind the headlines because it takes time to develop something new. But 'Real Women Have Curves' arrives on Broadway at a moment when seeing the humanity of immigrants — however they're seen by the law — has assumed head-spinning relevance. Don't expect a taste of medicine beneath the heaping spoonfuls of sugar: It's a laugh-out-loud musical comedy with a massive dose of heart. If that combination sounds unlikely, the creators pull off an impressive balancing act in relishing joy and humor amid striving and strife. The new musical is based in part on the 1990 play by Josefina López and set three years before, when immigration reform signed by President Ronald Reagan extended amnesty to undocumented immigrants. Hesitant to trust U.S. authorities and apply for permanent residence, the characters in 'Real Women Have Curves' live under the threat of raids and deportation. Would that the consequences today weren't any worse. The musical's coming-of-age story has a brighter outlook and richer detail than the 2002 HBO film (on which it is also based), in which America Ferrera sports the withering pout of a promising teenager trapped by circumstance. Sympathies in this production, which premiered at the American Repertory Theater in 2023, are more evenly spread, painting a fuller picture of the generational dynamics in immigrant families. One hand is enough to count the number of times I've seen some version of the conversation I had with my parents when I was 18 — that going away to college to start a new life wasn't altogether different from their journey to the United States. That's the argument that Ana (played by fabulous newcomer Tatianna Córdoba) gears up to make when she earns a full ride to Columbia University just when she's most needed by the family business. The setup may be too tidy, but at least the stakes are clear: Ana's sister Estela (Florencia Cuenca) runs an L.A. dress factory opened with their parents' life savings. A big order on a tight deadline calls for all hands on deck just as Ana is set to start an internship at a local paper. 'Que internship?' their mother asks with her typical bilingual sass. 'Instead of getting paid nothing by strangers, you can get paid nothing by your family. You're welcome.' As the strict and devoted matriarch, Justina Machado is indispensable to the sly humor laced throughout the book by Nell Benjamin (who also worked on the musical adaptations of 'Legally Blonde' and 'Mean Girls') and playwright Lisa Loomer. Some of the laughs are silly and straightforward while others, rooted in truths about working hard and getting by, spring up by surprise. (When Ana, the only citizen in the room, finally finishes a dress, a fast-sewing seamstress quips, 'Damn, they're takin' our jobs.') Sentiment is more often expressed in the score, by Benjamin Velez and singer-songwriter Joy Huerta, which layers Latin sounds over an otherwise indistinctive baseline of Broadway pop. The writing is cringey when at its least original: The opening refrain cribs Tim Gunn's sew-or-go catchphrase 'make it work,' and rap breaks in the title song strain too hard to mimic the musical's clearest predecessor, 'In the Heights.' (The eponymous focus on body image is toned down here, so the rousing anthem also seems to come out of left field.) But there are a few standout numbers, which riff on the central theme of dreams that defy the constraints of reality — no wonder they all involve flying. Córdoba nabs affection early on, with Ana's soaring ballad about heading east and making good on her parents' sacrifice. Later, she duets with a newcomer from Guatemala, played by Aline Mayagoitia, imagining the freedom birds have to roam (and to take a 'chit') wherever they want. Estela's daydream — of breaking through as a designer, jetting off to Paris Fashion Week and chasing untold possibilities — points to the maddening roadblocks that many people take for mundane: All of that would require the ability to show ID, get on plane and use a credit card. The sequence is a high point in the production from Sergio Trujillo, a Tony-winning choreographer ('Ain't Too Proud') who brings a keen eye for movement and fluidity to his direction. The factory (which, in the film, Ana sneeringly calls a sweatshop) is less claustrophobic here, but still a site of confinement. When Estela imagines success, dress forms descend, gowns billowing. (The uncommonly subtle '80s costumes are by Wilberth Gonzalez and Paloma Young.) When Ana ventures off to a reporting job or on a date with her fellow intern (a sweetly bumbling Mason Reeves), the walls lift away and reveal an outside world sketched and embroidered in saturated color. (The set is by Arnulfo Maldonado, lighting by Natasha Katz and video design by Hana S. Kim.) In rendering a close-knit community, with characters who each have personal histories and hopes for the future, 'Real Women Have Curves' is an extraordinary accomplishment. (In that, it shares some DNA with Jocelyn Bioh's 'Jaja's African Hair Braiding,' which played Broadway in 2023 and Arena Stage last fall.) If its message feels heavy-handed, that's because stories like it have rarely reached Broadway and have so much to say. Whether here or in future productions around the country, there's pleasure to take in listening. Real Women Have Curves, ongoing at the James Earl Jones Theatre in New York. Around 2 hours and 15 minutes with an intermission.
New York Times
28-04-2025
- Entertainment
- New York Times
‘Real Women Have Curves' Review: This American (Immigrant) Life
A brief scene in the new musical 'Real Women Have Curves' is as harrowing as anything in the most serious drama on Broadway: a group of terrified workers in a small Los Angeles dress factory, hiding in the dark as they listen to an immigration raid taking place next door. When the raid is over, the first sounds to break the quiet are soft weeping and breath laden with fear. It's a jolt of somber realism in a show that opts, ultimately, to lean in a feel-good direction. Yet such is the balancing act of 'Real Women Have Curves,' which opened on Sunday night at the James Earl Jones Theater. Based on Josefina López's play of the same name, and on the 2002 HBO film adaptation starring America Ferrera, it is a bouncy, crowd-pleasing comedy about female empowerment, self-acceptance and chasing one's ambitions. It is also a tale of immigrant life in this country, and the dread woven into the fabric of daily existence for undocumented people and those closest to them. At 18, newly graduated from high school, Ana García (Tatianna Córdoba) is the only American citizen in her family, and the only one with legal status. An aspiring journalist, and the daughter of immigrants who came to California from Mexico, she is spending the summer of 1987 doing an unpaid internship at a neighborhood newspaper. Then the dress factory owned by her older sister, Estela (Florencia Cuenca), receives a huge order that needs to be turned around fast. Their fireball of a mother, Carmen (Justina Machado), ropes Ana in to work there, too. 'So instead of getting paid nothing by strangers, you can get paid nothing by your family,' says Carmen, who is also part of the sewing crew there. 'You're welcome.' Córdoba, in her Broadway debut, is an appealing Ana, but Machado — best known for the Netflix reboot of 'One Day at a Time' — is an astonishment as Carmen, essentially slipping the audience into her pocket the instant she walks onstage. In a charismatic comic performance, the radiant Machado makes utter emotional sense of Carmen's swirl of contradictions, including the contempt for Ana's weight that spikes her boundless well of love. Carmen wants her family to be together, safe. For the Garcías — including Raúl (Mauricio Mendoza), who as husband and father gets to play good cop more often than Carmen does — an important part of that is having Ana to serve as an envoy in situations where the others' undocumented status leaves them vulnerable: paying taxes, dealing with a landlord. You can see why Ana is scared to tell her parents that Columbia University, on the other side of the country, has offered her a full scholarship. They don't even know she applied. At her newspaper gig, which she juggles with the factory job, she does tell her fellow intern, Henry (Mason Reeves), with whom she tumbles into a cutely geeky romance. He loves that she's so skillful at reporting, and he declines to indulge her self-deprecation about her curviness. Bonus: these two earnest brainiacs can dance. Directed and choreographed by Sergio Trujillo, with music and lyrics by Joy Huerta and Benjamin Velez and a book by Lisa Loomer and Nell Benjamin, this production is much tighter than the 2023 version audiences saw in its world premiere at the American Repertory Theater in Cambridge, Mass. In the first act, the braiding of plot strands is smooth, with comedy (some charming, some cheesy) gracefully coexisting with gut-gripping drama. But after a bleak start to Act II, the show opts for upbeat the rest of the way. On the one hand, that means some fun musical numbers, as when the women at the factory strip down to their undies, and deliver rap solos, during the body-positive title song. On the other, substance yields to banalities, leaving the show feeling somewhat empty. What buoys it is an extremely likable cast, riding the waves of a hummable score that sounds variously of Mexico, Broadway and American pop. (The music director is Roberto Sinha.) And it doesn't hurt that the show has a luscious color palette, or that its version of a disco ball is shaped like a dressmaker's mannequin. (The set is by Arnulfo Maldonado, lighting by Natasha Katz, video by Hana S. Kim and costumes by Wilberth Gonzalez and Paloma Young.) At Estela's factory, each employee makes a distinct impression — particularly Pancha (Carla Jimenez), peppering the place with wisecracks. Mostly they're in English, but when Estela accepts that giant order and promises to have it ready in a mere three weeks, you don't need to know Spanish to understand Pancha's response: 'Estás completamente loca?' You can read the meaning in her incredulous face. The worker who swoops in and steals our hearts, though, is Itzel (Aline Mayagoitia), a 19-year-old woman newly arrived from Guatemala, who is the most petrified at hearing the Immigration and Naturalization Service raid next door. Afterward, up on the roof with Ana, Itzel is wise, determined and funny in an offbeat way. When they sing of freedom in 'If I Were a Bird,' one of the show's most playful songs, they dance together with childlike abandon. And when, sometime later, Itzel is rounded up for deportation, the force of the plot twist is only intensified by our own awareness of recent headlines about the hardening of U.S. immigration policy. One of the strangest things about seeing 'Real Women' in this moment is the distance between the United States as it is now and as it was in 1987. During the second term of President Ronald Reagan, the country offered amnesty to certain undocumented immigrants. That policy is a significant plot element; in the show, amnesty has just become available. Ana encourages her colleagues at the factory to apply. Her sister is ineligible, though, because of a minor scrape with the law when she was 15. In Estela's song 'Daydream,' we see how squelched her prospects are because of her immigration status, and what she would try to do with her dress-designing talent if she were not so circumscribed. Still, the creators of 'Real Women' are playing by Shakespeare rules: This is a comedy, and it will have a happy ending. Resilience and resourcefulness will factor in. Love and liberty will triumph. Ana will head east. Carmen asks: 'What kind of daughter leaves her family?' The kind who's going after an American dream. Just like her mom did, when she came from Mexico.
