A short scene within the new musical “Actual Girls Have Curves” is as harrowing as something in probably the most severe drama on Broadway: a gaggle of terrified employees in a small Los Angeles costume manufacturing unit, hiding at the hours of darkness as they take heed to an immigration raid happening subsequent door.
When the raid is over, the primary sounds to interrupt the quiet are comfortable weeping and breath laden with worry.
It’s a jolt of somber realism in a present that opts, finally, to lean in a feel-good course. But such is the balancing act of “Actual Girls Have Curves,” which opened on Sunday night time on the James Earl Jones Theater.
Primarily based on Josefina López’s play of the identical title, and on the 2002 HBO movie adaptation starring America Ferrera, it’s a bouncy, crowd-pleasing comedy about feminine empowerment, self-acceptance and chasing one’s ambitions. It is usually a story of immigrant life on this nation, and the dread woven into the material of every day existence for undocumented individuals and people closest to them.
At 18, newly graduated from highschool, Ana García (Tatianna Córdoba) is the one American citizen in her household, and the one one with authorized standing. An aspiring journalist, and the daughter of immigrants who got here to California from Mexico, she is spending the summer time of 1987 doing an unpaid internship at a neighborhood newspaper.
Then the costume manufacturing unit owned by her older sister, Estela (Florencia Cuenca), receives an enormous order that must be circled quick. Their fireball of a mom, Carmen (Justina Machado), ropes Ana in to work there, too.
“So as an alternative of getting paid nothing by strangers, you will get paid nothing by your loved ones,” says Carmen, who can be a part of the stitching crew there. “You’re welcome.”
Córdoba, in her Broadway debut, is an interesting Ana, however Machado — finest identified for the Netflix reboot of “One Day at a Time” — is an astonishment as Carmen, primarily slipping the viewers into her pocket the moment she walks onstage. In a charismatic comedian efficiency, the radiant Machado makes utter emotional sense of Carmen’s swirl of contradictions, together with the contempt for Ana’s weight that spikes her boundless properly of affection.
Carmen needs her household to be collectively, protected. For the Garcías — together with Raúl (Mauricio Mendoza), who as husband and father will get to play good cop extra usually than Carmen does — an necessary a part of that’s having Ana to function an envoy in conditions the place the others’ undocumented standing leaves them susceptible: paying taxes, coping with a landlord.
You may see why Ana is scared to inform her dad and mom that Columbia College, on the opposite aspect of the nation, has provided her a full scholarship. They don’t even know she utilized.
At her newspaper gig, which she juggles with the manufacturing unit job, she does inform her fellow intern, Henry (Mason Reeves), with whom she tumbles right 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 Pleasure Huerta and Benjamin Velez and a e book by Lisa Loomer and Nell Benjamin, this manufacturing is far tighter than the 2023 model audiences noticed in its world premiere on the American Repertory Theater in Cambridge, Mass.
Within the first act, the braiding of plot strands is clean, with comedy (some charming, some tacky) gracefully coexisting with gut-gripping drama. However after a bleak begin to Act II, the present opts for upbeat the remainder of the best way. On the one hand, which means some enjoyable musical numbers, as when the ladies on the manufacturing unit strip right down to their underwear, and ship rap solos, in the course of the body-positive title tune. On the opposite, substance yields to banalities, leaving the present feeling considerably empty.
What buoys it’s an especially likable forged, driving the waves of a hummable rating that sounds variously of Mexico, Broadway and American pop. (The music director is Roberto Sinha.) And it doesn’t harm that the present has a luscious shade palette, or that its model of a disco ball is formed like a dressmaker’s model. (The set is by Arnulfo Maldonado, lighting by Natasha Katz, video by Hana S. Kim and costumes by Wilberth Gonzalez and Paloma Younger.)
At Estela’s manufacturing unit, every worker makes a definite impression — notably Pancha (Carla Jimenez), peppering the place with wisecracks. Largely they’re in English, however when Estela accepts that big order and guarantees to have it prepared in a mere three weeks, you don’t must know Spanish to grasp Pancha’s response: “Estás completamente loca?” You may learn the that means in her incredulous face.
The employee who swoops in and steals our hearts, although, is Itzel (Aline Mayagoitia), a 19-year-old girl newly arrived from Guatemala, who’s probably the most petrified at listening to the Immigration and Naturalization Service raid subsequent door. Afterward, up on the roof with Ana, Itzel is smart, decided and humorous in an offbeat method. After they sing of freedom in “If I Had been a Chicken,” one of many present’s most playful songs, they dance along with childlike abandon.
And when, someday later, Itzel is rounded up for deportation, the power of the plot twist is simply intensified by our personal consciousness of latest headlines concerning the hardening of U.S. immigration coverage.
One of many strangest issues about seeing “Actual Girls” on this second is the space between america as it’s now and because it was in 1987. In the course of the second time period of President Ronald Reagan, the nation provided amnesty to sure undocumented immigrants.
That coverage is a major plot aspect; within the present, amnesty has simply turn out to be out there. Ana encourages her colleagues on the manufacturing unit to use. Her sister is ineligible, although, due to a minor scrape with the legislation when she was 15. In Estela’s tune “Daydream,” we see how squelched her prospects are due to her immigration standing, and what she would attempt to do together with her dress-designing expertise if she weren’t so circumscribed.
Nonetheless, the creators of “Actual Girls” are taking part in by Shakespeare guidelines: It is a comedy, and it’ll have a contented ending. Resilience and resourcefulness will consider. Love and liberty will triumph. Ana will head east.
Carmen asks: “What sort of daughter leaves her household?”
The type who’s going after an American dream. Identical to her mother did, when she got here from Mexico.
Actual Girls Have Curves
On the James Earl Jones Theater, Manhattan; realwomenhavecurvesbroadway.com. Operating time: 2 hours 20 minutes.
