Grace Aki Reviews ‘Real Women Have Curves’

Summary

BroadwayRadio Podcast Summary: Grace Aki Reviews ‘Real Women Have Curves’

Episode Title: Grace Aki Reviews ‘Real Women Have Curves’
Release Date: May 1, 2025
Host: Matt Tammanini
Guest: Grace Aki
Podcast: BroadwayRadio

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Introduction

In this episode of BroadwayRadio, host Matt Tammanini welcomes Grace Aki to discuss her latest review of the Broadway musical adaptation of ‘Real Women Have Curves’. Grace brings her insightful perspectives on the show's performances, music, and its place within the current Broadway landscape.

Overview of 'Real Women Have Curves'

Matt opens the conversation by situating the musical within the broader context of the 2024-2025 theatrical season, highlighting its endurance and evolution from a play to a TV movie, and now a Broadway musical. He notes the involvement of Sergio Trujillo as both director and choreographer, Joy Huerta and Benjamin Velez composing the music, and Lisa Loomer and Nell Benjamin crafting the book.

Matt Tammanini [01:05]:

"Today, we're going to be talking about the new musical adaptation of Real Women Have Curves, which was based off of a play that was then turned into a TV movie and is now a musical on Broadway."

Performances and Casting

Grace shares her excitement about the show, particularly because her friend Mason Reeves makes his Broadway debut in it. She praises the casting process and the decision to bring in Tatiana Cordoba as Ana Garcia, who did not participate in the out-of-town tryouts.

Grace Aki [02:03]:

"One of my dearest friends is making his Broadway debut in this show, Mason Reeves, which we will get into but just know that everything I say is incredibly biased about him and I don't care because he's that good."

She commends the performances of Justina Machado as Ana's mother and Florencia Cuenca as her sister Estella, emphasizing their nuanced portrayals and the dynamic they bring to the familial relationships depicted on stage.

Balancing Serious Themes with Upbeat Musicality

The conversation shifts to the musical's ability to tackle serious, politically charged themes such as immigration and deportation, while maintaining an upbeat and pop-centric musical score. Grace highlights how the show manages to be both deeply political and entertaining without compromising on either front.

Grace Aki [03:21]:

"It's a classic musical. Like from beginning to end you are seeing a very good traditional musical. It has obviously like broken a lot of boundaries in terms of like Mexican representation and it is deeply political accidentally, I believe."

She appreciates the show's traditional structure amidst a Broadway season dominated by diverse and avant-garde productions, suggesting that it stands out for its classic approach and well-constructed narrative.

In-Depth Analysis of Performances

Matt prompts Grace to delve deeper into the lead performances, focusing on Tatiana Cordoba, Justina Machado, and Florencia Cuenca. Grace acknowledges their excellence but expresses a desire for more character development within the show's multiple plotlines.

Grace Aki [05:58]:

"They're all excellent actors. I really enjoy their performances. ... I just wanted to lean more into, like, why does she want to pursue that career? What does she want about it?"

She notes that while the actors deliver strong performances, the multitude of storylines can sometimes dilute the depth of individual character arcs, particularly regarding body positivity and cultural expectations—central themes from the original film.

Adaptation from Film to Musical

Grace touches upon the challenges of adapting the original film to a musical format, especially with the inclusion of musical numbers that require trimming certain plot elements to fit the typical Broadway runtime.

Matt Tammanini [08:13]:

"Because it's a film or it was a play first, then a film like that has all these story lines, but when you're going to turn that into a musical..."

Grace adds that despite these challenges, the adaptation succeeds in maintaining the essence of the story while introducing new layers through its musical composition.

Music and Score Evaluation

Discussing the musical score, Matt describes it as "catchy and earwormy," a sentiment echoed by Grace, who highlights specific songs that stood out.

Grace Aki [09:49]:

"I enjoy the music a lot. I think that the one that stuck out to me was the 'Bird Shitting Song' by Itzel Eileen Mayaguetta, who is excellent in the show."

She praises the score's traditional musical theater feel, its pop influences, and its ability to enhance the storytelling without overwhelming it. Grace mentions that Mason Reeves's performances through song have particularly resonated with audiences, contributing to the show's popularity.

Final Thoughts and Ensemble Performances

As the episode nears its conclusion, Grace lauds the ensemble cast, especially the women working in the dress shop within the musical. She expresses a strong appreciation for their individual characters and the collective energy they bring to the production.

Grace Aki [11:48]:

"I think that the women in the dress shop particularly should have a light shone on them because... every performer on stage that is just giving a fantastic performance."

She wistfully suggests that these ensemble characters deserve their own spotlight, perhaps envisioning a future "Part Two" focused solely on their stories.

Conclusion

Matt wraps up the discussion by encouraging listeners who have seen the show to share their experiences on social media. Grace sums up her review by reiterating the strength of the performances and the show's successful blend of traditional and contemporary elements.

Grace Aki [12:25]:

"I'm not sure if we'll have any more of these from the 2024-2025 season, but thanks for following along. And if you like hearing Grace's thoughts, on things, let us know and maybe we can convince her to do more of these more often."

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Key Takeaways:

• 'Real Women Have Curves' successfully adapts a beloved film and play into a traditional yet refreshing Broadway musical.
• Stellar performances by the lead actors, especially Tatiana Cordoba, Justina Machado, and Florencia Cuenca, elevate the production.
• The musical balances serious political themes with an upbeat, catchy score, making it both thought-provoking and entertaining.
• The ensemble cast, particularly the women in the dress shop, adds depth and vibrancy to the storytelling.
• Grace Aki's review emphasizes the show's potential as a classic addition to Broadway's repertoire, blending cultural representation with timeless musical elements.

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For more insights and reviews on the latest Broadway shows, tune into BroadwayRadio and follow their social media channels.

Transcript

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[Matt Tammanini]

All right, welcome back to another Grace Aki review episode here on Broadway Radio. My name is Matt Tammanini. Grace, we're getting towards the end of the 2024, 2025 theatrical season. How are you holding up?

[Grace Aki]

You know where we're standing? Much like Elton John. I'm sitting down, but yeah, we're. We're doing something. We.

[Matt Tammanini]

We are. We are still standing, although we're just sitting. Today, we're going to be talking about the new musical adaptation of Real Women have Curves, which was based off of a play that was then turned into a TV movie and is now a musical on Broadway, directed by Sergio Trujillo, who also choreographs. Music is by Joy Huerta and Benjamin Velez, and the book is by Lisa Loomer with Nell. Benjamin. That's always complicated when they throw in the wits. And not exactly sure what that always means, but what were your thoughts on Real Women have Curves, which is currently playing at a theater that. I know you love the James Earl Jones.

[Grace Aki]

Yeah. I mean, first of all, knowing that, full disclosure, one of my dearest friends is making his Broadway debut in this show, Mason Reeves, which we will get into but just know that everything I say is incredibly biased about him and I don't care because he's that good. But yeah, I was excited to see this show. I had missed it when it was in Boston, so I was very excited. There were rumors last year that it was going to come to the Belasco after had a dance in Ohio, closed. It did not happen. Then they took time with the casting, changed some things around, got their stuff together and then now they're on Broadway at the James Earl Jones Theater, which is very exciting stuff.

[Matt Tammanini]

So this is a show that is interesting because it kind of walks the line of having some very, despite the fact that it is a decades old story, has some very prescient things to say about the world that we are living in today, but also is kind of a fun, upbeat, poppy type of musical. Joy Huerta is a Mexican pop star along with her brother Jesse. They have a duo, Jesse and Joy, that is very, very popular. How did you feel? Like it walked the line between the very serious things that the show is talking about, but also being a fairly upbeat, positive, life affirming show.

[Grace Aki]

You know what's crazy, I think that, and I don't know that a lot of people have said this, but like it is a classic musical. Like from beginning to end you are seeing a very good traditional musical. It has obviously like broken a lot of boundaries in terms of like Mexican representation and it is deeply political accidentally, I believe. I don't think that they set out to write a deeply political show. It's just inherently political by nature of like the subject matter. But I think that with our current administration it has been very surprisingly divisive because it talks about deportation and immigration issues that have not gone away in the 20, 30 years since the show takes place. But you know, the show centers in LA and all of these things. And like, I think what's so great about it is that like in the future we're gonna look back and go like, oh right, like we had a very classic musical on Broadway in this season and there aren't a lot of classic new Broadway musicals. You've got some jukebox, you've got some, you know, av avant garde, out of the ordinary, Operation Mincemeat. You've got, you know, movie musicals. This one is also based on a film. But I feel like it's the most genuinely, interestingly traditional beat by beat, beginning to end musical that's currently running, especially the new ones. So yeah, for, for anybody that was like, I don't know, I'm not Someone that likes to, like, take a gamble right now on a Broadway musical. I go, this is actually an incredibly classic piece. Like, it just happens to be new, but, like, it could have been written 15 years ago, it could have been written five years ago. It could be written right now. But I think it's actually, like, very well constructed, and, like, the people on stage are doing traditional musical theater. And I mean that in the most complimentary way. Like, I think that a lot of people think that they have to have all of these bells and whistles, and I'm like, what if you just, like, did it? You know what I mean? Like, I don't have to see some guy flip down the stairs to know that you're doing a good musical. Like, this is good.

[Matt Tammanini]

So let's talk about the lead performances here. At the top of the show is Tatiana Cordoba playing Ana Garcia. She is new to Broadway, did not do the out of town trial, so she was brought in after the Boston run. She is the biggest star in the show. Justina Machado, who is playing her mother, and then Florencia Cuenca, who is playing her sister, Estella. Those are the three performances at the center of this story. Obviously, they are our family. Talk to me about these three women and what you saw from them on stage.

[Grace Aki]

They're all excellent. I just want to say they're all excellent actors. I really enjoy their performances. I think that Justina Machado, as she has always done in her career, has these nuanced mother performances that only she can bring. You know what I mean? I think that some of the challenges that I faced was that I felt like I didn't deeply get to know any of them, like, in their characters. I think that Tatiana has, like, two really fun, like, great songs. Like, she has this, like, great, like, powerful number at the top of the show. And then, like, I love, like, her love story, you know, with the boy. But there's so many different plot lines in the show that have to do with, like, the. The raids and like, the. The dressmaking and then her future and all of these things. So it's no commentary on any three of these people's performances, because I do think that they're excellent performers. I think that one thing that I wished for more was that I got to learn a little bit deeper about any one of them. And not just all of these varying challenges that happen in the story. I really wanted to lean more into, like, why does she want to pursue that career? What does she want about it? You know, like, what is she missing? From, you know, and then, you know, the genesis of the show. The title, Real Women have Curves. We actually don't hear anything about that until, like, the song, which is darn near close to the end of the show. It's primarily, you know, most of the. The talking points or the. The conflicts arise around immigration. But a lot of the story from the film and as indicated in the title of the piece, talks a lot about, like, the body positivity and body shaming and like, the relationship between mother and daughter and immigrant culture and our perception of what our women's bodies need to look like, which I don't think is a big part of the storytelling in this musical, but is a big part of the source material and obviously the title. So I just think that that threading of those needles is interesting to me, but I know that a lot of people that when they see it, they were surprised by the rest of the storylines, which are very valid, but not as focused on the title as. As the film is.

[Matt Tammanini]

Yeah, I have. I believe I saw the film years, because it was an HBO film. It was out decades ago. America Ferreira stars as Anna.

[Grace Aki]

It's no longer available for licensing. Just so you know. I tried to do my film and series screening with the stage and screen stuff with this one particularly, and the film house could not secure the royalties as they are for any other film. They said that they're no longer available. So it's not even showing. It's not even, like, in print currently. So any copy that anybody has, like, see what you can do with it. But yeah, it's like, totally unavailable, which is insane, because it was like, America Ferreira, like, star making performance.

[Matt Tammanini]

Yeah. It is on demand, on Max, if you want to. If you want to watch it. But because it's a film or it was a play first, then a film like that has all these story lines, but when you're going to turn that into a musical by virtue of the fact that you're adding in songs, you're either going to have to extend the length of what you're doing. And this is a fairly traditional, you know, time for a musical. Two and a half hours. Ish. But, like, you do have to, like, cut some. Some material out if you're going to make room for songs. So I definitely understand that. What did you think of the music? Because to me, I felt like this was probably, in terms of new scores on Broadway this year, probably the most catchy and ear wormy, which is actually, I think I saw the show with our friend Robbie Rosello. I think that's something he said. It was, like, the most earwormy score of the season in terms of new musicals.

[Grace Aki]

I enjoy the music a lot. I think that the one that stuck out to me was the. The Bird Shitting Song by Itzel Eileen Mayaguetta, who is excellent in the show. That one was really stellar at the top of the show. And then, of course, like, the real women have curves. I've just, like, can't stop singing it because they've done it on a lot of, like, you know, the. The GMA's and all that kind of stuff. But, like, I agree with you. I think that, like, the score is very earwarming. It's very fun. It's very poppy. Again, it's a good, like, genuinely traditional musical, which I really like. But the one that I already know you, the one that Mason sings is like, the one that's been stuck in my head because I've been watching. They released, like, a music video, of course, and I'm just like, oh, my God, I love it. But, yeah, so that one, that one, when I saw it, I was like, I already, already, already, already know. Like, I couldn't stop doing it. So, yeah, that one is great as well.

[Matt Tammanini]

All right, let's wrap up. Anything you want to say either about your friend Mason Reeves or the show overall in general.

[Grace Aki]

The fact that there are, what, 100 Broadway debuts in this show, and they're all by every performer on stage that is just giving a fantastic performance. I think that the women in the dress shop particularly should have a light shone on them because Carla, Shelby, Aileen, Jennifer, Sandra, Florencia, like, everybody that works in that shop is giving excellent, excellent performances, genuine individual characters. I would have watched a show just about the dress shop women. Like, I kind of wish that there's a part of me that was like, the part two of this is just about them, you know, And I think that they. They are just. They're the stars of the show. To me. Like, I think that those scenes are where I think the show really pops, and I really love seeing that.

[Matt Tammanini]

Awesome. Well, if this is a show that you have seen, make sure to reach out to us on social media oderradio and let us know. Grace, where can people get more thoughts from you on all things theater and pop culturegraceaki? All right, everybody, thank you for listening. I'm not sure if we'll have any more of these from the 2024-2025 season, but thanks for following along. And if you like hearing Grace's thoughts, on things, let us know and maybe we can convince her to do more of these more often. Thanks for listening and we'll talk to you soon.

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