Real Women Have Curves (play)

• Ana: the young feminist and recent high school graduate. She is politically active and concerned; she is waiting on her financial aid to come through so she can attend college at her dream school, New York University. She sometimes sneaks away from her work to the bathroom where she has a hidden journal and pen that she writes her true feelings in. At the beginning of the play she is ashamed to be working at the factory, but by the end she realizes how much the women in the factory have taught her that her years of education could not. Getting her temporary residence card soon.
• Estela: the owner of the Garcia Sewing Factory, behind on her payments, kind but hardworking. Described in the play's intro as "plain-looking" and "plump". She is afraid to apply for amnesty because she owes money on some sewing machines, and thus spends most of the play's action being nervous, afraid and driven to complete her large order. She has a huge crush on a man the group jokingly calls "El Tormento"; he takes her for a date and behaves inappropriately, making sexual advances that a smarter woman would have seen coming. Eventually pays off her debts and dreams of owning her own retail boutique one day.
• Carmen: the oldest of the women, mother of Ana and Estela, described as "short" and "large". She is a conventional example of a Latina mother; has a talent for storytelling and a tendency to use a harsh, blunt tone. She speaks her mind on all issues. Uncomfortable within her body, makes judgment on other characters’ appearances, especially her two daughters. By the end of the play she learns to accept herself and embrace her body. Recently became a US resident under the 1987 Simpson-Rodino Amnesty Act.
• Pancha: Smart, sassy, described as a "huge woman". She is very comfortable with herself despite the fact that she cannot have children, something her social conditioning has raised her to expect from life. Her character is, like Carmen, rather conventional, believing that Ana's education will be a turn-off for her future husband. Believes that a woman should endure anything a man does to her if she loves him. López hints that Pancha might be in a sometimes abusive relationship but it is never directly mentioned. Recently became a US resident under the 1987 Simpson-Rodino Amnesty Act.
• Rosali: often acts as the mediator of fights within the group, a little thinner than the others probably because she is constantly dieting. She is described as "sweet and easygoing" by the playwright. Recently became a US resident under the 1987 Simpson-Rodino Amnesty Act.

While the reception of the play has changed over the years, most critics agree that the play continues to have important modern relevance.

• In 2007, the American Drama Institute argued that Real Women Have Curves “can and should be read as a working-class text” since the play “highlights the difficulties of mediating between the individual and the collective, and the issue of class mobility.”[3]

• In 2012, Arturo J. Aldama noted that “López consistently, creatively, and effectively draws structural connections between the individual and the communal.”[4] Additionally, Lopez “recounts that before she went to college, she worked in a garment factory; those experiences inspired Real Women Have Curves.”[5]

• The 2015 Pasadena Playhouse production was noted for its warmth and humor.[6] Los Angeles Times determined the play “was revolutionary for its time and still, decades later, feels subversive: It puts women center stage, and not rich, glamorous women.”[7]

• The 2017 production by Main Street Players in Miami Lakes credited López’s writing, stating that it “has a well-deserved congratulatory feel that someone is finally speaking on stage for the hard-working blue collar Latina women.”[8]

• A 2018 review of the production at Austin’s Teatro Vivo determined that the show’s “place and relevance in our community are undeniable,”[9] and a similar sentiment was expressed in 2019 in regard to the production at Dallas Theater Center.[10] Artistic director Bill English of the 2020 San Francisco Playhouse Production also believes this play is still relevant, telling BroadwayWorld that “thirty years after its premiere in San Francisco, Real Women Have Curves still carries a potent and empowering message.” [11]

• Yet in 2022, a reviewer for Sonoma County Gazette critiqued the play, arguing that the play’s humorous moments make “for comfortable viewing, but are often to the detriment of helping us understand what these women have to bear as impoverished, invisible and largely powerless Latina immigrants in California.”[12]

• Victory Gardens Theatre in Chicago, IL, October–November 1993
• Depot Theatre in Westport, NY, 2012 Season
• Pasadena Playhouse in Pasadena, CA, September–October 2015
• Douglas Morrisson Theatre in Hayward, CA, August–September 2016
• Main Street Players Theater, February 2017
• Women's Theatre Project in Fort Lauderdale, FL, August 2017
• Emma S. Barrientos Mexican American Cultural Center production, August 2018
• Garry Marshall Theatre in Burbank, CA, October–November 2018
• Dallas Theatre Center at the Kalita Humphreys Theater in Dallas, TX, April–May 2019
• Center Players Dessert Theatre in Freehold, NJ, July–August 2019
• The Public Theatre in San Antonio, TX, September–October 2019
• San Francisco Playhouse in San Francisco, CA, March–April 2020
• Aurora Arts Theatre’s 2021 'Real Women Have Curves, August-September 2021
• Powerstories Theatre, February 2022
• 6th Street Playhouse, May 2022