A joyful celebration of humanity and devotion to dreams, plus a healthy dose of body positivity, Real Women Have Curves raises the roof with infectious music and delightful comedy.

Based on the 1990 play and 2002 television movie, Real Women Have Curves is a perfect fit for a musical adaptation, with the Latina community of characters inspiring composers Joy Huerta and Benjamin Velez to pen wonderfully rhythmic and melodious songs.

The lovechild of In The Heights and Kinky Boots, the new musical follows a vibrant set of women working in a garment factory in 1987 Los Angeles. Curvy teenaged activist Tracy Turnblad Ana García strives to fulfil her dreams and fight for human rights, juggling a blossoming romance along the way. There may never be any real doubt that the mission to make 200 dresses in three weeks will be fulfilled, but the fun is in the process coupled with coming to know the individual women. 

In the time taken for the show to reach Broadway, deportation of immigrants has risen sharply in public consciousness, making the meaty parts of the story incredibly prescient. In a dramatically tense scene, the largely undocumented female factory workers hide in fearful silence while a neighbouring factory is raided. Deft work by book writers Lisa Loomer and Nell Benjamin means that the message is conveyed powerfully without being spelled out laboriously. 

Director / choreographer Sergio Trujillo brings elegant movement to every aspect of the production. Not only do the sets glide smoothly into place but even the graffiti-inspired video images transition in funky style. With character work at the fore, Trujillo eschews complex dance for soulful movement, spreading joy when company numbers erupt into festive dance. 

The most talked about scene is sure to be the title song “real Women Have Curves,” which sees the hot and bothered women strip down to their undergarments and embrace their curvy physiques. This empowering production number stops the show and earns a well-deserved mid-show standing ovation. 

Given the focus on fashion (if that is the correct term for women’s dresses in the late 1980s), costume designers Wilberth Gonzalez and Paloma Young balance realistic daywear with a rainbow of splashy gowns, convincingly creating signature outfits by Estela Garcia, sister of Ana. 

In a breakout debut, Tatianna Córdoba beams her way into audience hearts as Ana. From her I Wish song “Flying Away” onwards, Córdoba balances pathos, comedy, romance, and song with the consummate flair of a far more experienced performer, Set to be an inspiration to young women of similar body types, Córdoba handles her role with perky confidence and focused flair. 

Justina Machado brings commanding power to formidable matriarch Carmen Garcia, suffusing the role with warmth despite Carmen’s often brutal treatment of daughters Ana and Estela. 

Florencia Cuenca gives embattled designer Estela a backbone of her own, convincingly earning and holding the respect and affection of the other women. 

Mason Reeves is winningly adorkable as fellow cub reporter Henry, who sweetly and wholeheartedly falls for Ana astray work together on a newspaper internship. The romantic arc is uncharacteristically free of obstacles, all charm emanating from the fresh chemistry of Reeves and Córdoba.

Each of the factory women establishes a strong and distinct character, earning audience affection with merry humour to make the dramatic moments all the more keenly felt.

Sure to emerge as an audience favourite in the coming months, Real Women Have Curves is the ideal blend of inspiring substance and musical theatre joy. 

Real Women Have Curves was reviewed 7.30pm Sunday 4 May 2025 at James Earl Jones Theatre, New York. For tickets, click here.

Photos: Julieta Cervantes