Broadway is considered the biggest stage in this country. Actors work their entire lives to make it on that stage where tourists come from all over the globe to catch some of the world’s greatest talent. Because of that, getting your show to debut on Broadway can be extremely difficult—especially when it comes to Latino stories. There have been few and far between across the last century—something Latino USA took a look at in 2018 with A Tale of Two Musicals, which briefly discussed a few of the musicals we’ve seen throughout history. So when a Latino story hits the Mecca of the stage, needless to say, it’s a huge deal. And when there are not one, but two stories, it’s cause for celebration. This Tony season, New York City was blessed with “Real Women Have Curves” and “Buena Vista Social Club.” “Buena Vista Social Club” is about the ground breaking album of the same name released in the 90s that contains huge Broadway dance numbers, colorful costumes and Broadway veteran Natalie Venetia Belcon.
“Real Women Have Curves” is based on a play written by Josefina Lopez in 1990 that was then turned into a critically acclaimed movie in 2002 starring America Ferrara—the movie that put her on the map. The musical takes place in East LA in 1987, where Estela owns a dress shop where all the cast members work. Ana, her sister, dreams of being a journalist, but struggles with her commitment to her immigrant family and an internship that could propel her American Dream. The show also deals with themes on body image, representing curvy women unapologetically giving them a morale boost as they strip down into their underwear in one scene. During the musical, this moment received a standing ovation mid-show every day. The musical starred Justina Machado who earned a Tony nomination for her performance.
While everyone rooted for this historic moment, it was short-lived as “Real Women Have Curves” shut its doors at the end of June this year. The show received praise from celebrities across the country as being an authentic and much needed voice right now as the show heavily leaned into its immigration plotline—something that mirrors the nightmares happening on the streets in today’s society. The show was all over the press, giving real time updates on social media and even performed at the Tony awards this year. And yet all of that support could not save this very timely show.
So today on Latino USA, we’re joined by Florencia Cuenca, who played Estela, the shop owner and Tatianna Córdoba, who played Ana, the aspiring journalist and Estela’s sister. Together we discuss the highs and lows of the Broadway stage, what it takes to keep up with the pace on the biggest stage in the country, body image, and the rise and fall of this really American story!
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This episode was produced by Jeanne Montalvo and edited by Andrea López-Cruzado. It was mixed by Gabriela Baez and Julia Caruso.
Featured image by Diego Perdomo.
As a Latino theatre artist, it was heart breaking to see how the powers that be handled the show. It never felt like this show was for our people. It felt like a watered down digestible “Latino” show for white audiences. The actress is right, the writing and marketing was not for us, and for this reason our people didn’t show. The authenticity was compromised and I believe ultimately lead to the downfall. When you try to make something for everyone you end up making something for no one. I hope this serves as an example for future theatre producers to lean in to authenticity and not worry so much about “excluding” other people…they’ll come- the joy of authenticity transcends.