Joy Huerta had her reservations about musical theater.
When director and choreographer Sergio Trujillo approached her in 2019 to transform Josefina López’s play “Real Women Have Curves” into a musical, she was hesitant.
Huerta, widely recognized as one half of the pop duo Jesse & Joy, hadn’t seen the original 1990 play or the well-known 2002 film featuring America Ferrera. However, her perspective changed once she began reading the script. It was then that she realized the story could resonate beautifully with music.
“I felt a rush of excitement thinking, ‘This is something everyone can relate to,’” said Huerta, 38, who composed the music and penned the lyrics alongside Benjamin Velez, 37, for the musical that is set to debut on Broadway this Sunday.
Taking place in 1987 in the Boyle Heights area of Los Angeles, “Real Women Have Curves” dives into the experiences of immigrants through the journey of a group of Latina women working in a garment factory. It centers around an 18-year-old girl torn between supporting her undocumented family or pursuing a scholarship to Columbia University in New York. The show had a previous performance run in 2023 at the American Repertory Theater in Cambridge, Mass.
Following the start of Broadway performances this month, Huerta, Velez, and Lisa Loomer—who collaborated with Nell Benjamin on the book of the musical—shared their inspirations and their approach to adapting this story for the stage. Additionally, Tatianna Córdoba, 25, who plays the lead role of Ana García, discussed her experience making her Broadway debut in a role that resonates deeply with her. Here are five key points about the production.
The journey began with a diary.
More than ten years before “Real Women Have Curves” became a hit film in 2002, it originated from the diary of López, an undocumented Chicana teenager who documented her experiences working in a sewing factory in Boyle Heights.
At just 18, she elaborated on her diary entries to create a play. “Real Women Have Curves” premiered in San Francisco in 1990 and has seen numerous productions since then. López (along with George LaVoo) adapted the screenplay for the movie, which featured America Ferrera in her early film career.
Loomer, who also lived near Boyle Heights during the 1980s, drew inspiration from the original works while introducing new characters and elements. “The film differs significantly from the play, and the musical diverges from both, but they all share the same essence,” she noted.
The production embraces body positivity.
Since body positivity is a modern notion, Loomer had to figure out how to portray the story’s value of embracing fuller figures in a way that resonates with today’s audience. One character, Ana’s straightforward mother, Carmen, often criticizes her daughter’s weight in the film.
“With Carmen, I felt it was important to keep her in the 1987 context for better understanding,” Loomer explained.
For the musical, she softened Carmen’s character, played by Justina Machado on Broadway (originally portrayed by Lupe Ontiveros in the film). The aim was to reduce fat-shaming while adding depth to her backstory to help audiences understand the cultural forces at play. Some comments remain, such as suggesting Ana could skip a meal.
“You might want to dislike her for her remarks, but she doesn’t intend to demean Ana,” Huerta said. “She’s just speaking her mind based on her background.”
Spanish language is integrated.
Balancing the use of Spanish was a challenge, as Loomer wanted to ensure that Spanish-speaking and non-Spanish-speaking audience members could enjoy the storyline authentically.
“They wouldn’t use English with each other at home, nor in the factory,” she noted. “So it was crucial to give a sense of Spanish—the nuances—while ensuring it was understandable for Anglo audiences.”
Of the cast, 16 out of 19 members come from Latino or Hispanic backgrounds, with most making their Broadway debuts. “It’s amazing to see when the curtain rises, knowing that these are people who remind us of ourselves—like our aunts or cousins,” Huerta shared.
During the initial run in Cambridge, they gauged how much Spanish to incorporate in the songs. “Our goal was to ensure that the amount of Spanish didn’t take away from the storyline,” Velez explained. “So it’s been a careful balancing act.”
Illegal immigration is a central theme.
Set during the summer of 1987, the musical reflects a Reagan-era amnesty program for long-term undocumented immigrants, which benefited the playwright. Unlike the film and play, Ana is the sole U.S. citizen among her family and coworkers, with her older sister, Estela (Florencia Cuenca), who owns the factory, and their mother, Carmen, also undocumented.
“This change emphasizes Ana’s obligation to stay and the guilt she feels about wanting to leave for her dreams,” Loomer noted.
Loomer extended the cast of undocumented characters by including Guatemalan and Salvadoran women, such as Itzel (Aline Mayagoitia), a 17-year-old Indigenous Guatemalan refugee who sings about overcoming challenges in the song “If I Were a Bird.”
“The beauty of staging a play set in the past is that it highlights ongoing issues,” Loomer reflected, pointing out that her four-decade career has focused on Latina and immigrant narratives. “Often, it makes the present even more poignant.”
The role is deeply personal for the lead actress.
When Tatianna Córdoba, who stars as Ana, delved into the script, she found the family dynamics relatable.
“Many of the mother-daughter exchanges that Justina and I share remind me of my abuelita,” said Córdoba, who was raised in Los Angeles with Costa Rican and Filipino roots. “There’s a mixture of motherly criticism and love.”
The conversations surrounding body image also struck a chord with her, as Córdoba had faced pressures during her ballet training. “When I went through puberty, I quickly realized my body was transforming differently than that of my ballet peers,” she reflected.
One aspect she wishes she had during her teenage years is her character’s confidence.
“Ana embodies the self-assurance I wished I had at 18,” she expressed. “She has a strong belief in herself and a confidence in her appearance that I yearned for. Instead, she’s focused on her dreams, intellect, and aspirations.”
Córdoba appreciates a moment in Act II when the fuller-figured women in the sweltering factory excitedly strip down to their undergarments, celebrating their bodies. This scene has received mid-show standing ovations.
“There’s something infectious about witnessing others embrace joy and bravery,” she said. “This is what moves the audience to stand and applaud—they feel empowered and cherished in that moment.”
