A.R.T.'s version of 'Real Women Have Curves' adds infectious music to the mix

Sometimes, one must go far to chase a dream or to find oneself. But just as often, many of life’s most important lessons can be learned close by. In the world premiere of the heartwarming “Real Women Have Curves: The Musical” (through Jan. 21 at the American Repertory Theater), based on the play by Josefina López a teenage girl’s perception of what power looks like is challenged when faced with the choice to stay and help her family or leave and follow her dreams.

Boasting a strong ensemble, “Real Women Have Curves” chronicles the journey of Ana Garcia (an excellent Lucy Godínez), a high schooler in Boyle Heights, Los Angeles, eager to head to the east coast for college and to pursue a career in journalism.

Pursuing her own path, however, could hurt her family, owners of a garment factory helmed by her sister Estela. As the only U.S. citizen, everything the family owns is in Ana’s name, and it seems that the family’s success, at least partially, is pinned on her.

Many might remember the 2002 film of the same name based on the screenplay by López and George LaVoo starring America Ferrera (who also starred in the groundbreaking “Ugly Betty”) and how refreshing it was to see Latina women with different body types represented on screen. It’s been more than 20 years since the film directed by Patricia Cardoso premiered, but body positivity and self-love don’t have an expiration date.

Justina Machado, lead actress in Amazon Prime Video’s “The Horror of Dolores Roach,” where she plays a serial killer, shines as Carmen, Ana and Estela’s mom. Carmen, who is a little overbearing, wants the best for her kids even if she hasn’t figured out how to tell them so nicely. She’s also convinced that only she knows what’s best. Later, the audience learns that Carmen’s struggle with Ana’s lofty goals is really about her own regrets and sacrifices. She’s afraid for Ana to go out in the world and possibly be disappointed. But her angst strains their relationship and puts a wedge between the sisters.

Though the play, with thoughtful direction by Sergio Trujillo (also the choreographer), focuses on Ana’s story, additional themes include the ever-present threat of deportation, standing in one’s power, the importance of community, and (most importantly) love courses through the narrative. The production has a lot to offer with its feel-good messages. But the music, with its catchy hooks about real-life struggles such as juggling multiple gigs and making the best with what one has, makes the show fun to watch as they dance and sing in the factory — designed by Arnulfo Maldonado — with its pink and white walls adorned with sketches, a large cross and spools of colored ribbon and thread. The walls are lowered and removed, and furniture and other props rolled in and out as the cast moves from the factory to the Garcias’ home, a detention center, and later, the bedroom of Ana’s new flame. Moving projections/video of scenery and bold murals, designed by Hana S. Kim and sound by Walter Trarbach, shape and color the neighborhood.

The musical features the original score by Grammy Award-winning recording artist Joy Huerta, Fred Ebb Award winner Benjamin Velez and a book by playwright Lisa Loomer of “Girl, Interrupted” fame. With music supervision by Nadia DiGiallonardo and conducting by Roberto Sinha, the live musical performances onstage and in the pit are electric.

Much of the music is memorable, especially Godínez’s Ana and Satya Chávez’s Izel stunning duet that remains in the heart post-show. Izel, a newer arrival to the factory from Guatemala, sings about being a bird with a remarkably bright voice. Strong, clear, and persuasive, the two belt out the ballad in which they imagine taking flight with such earnestness it makes this audience member feel we can all soar.

There’s a lot of comedy, particularly in the second act, but one song — performed by Mrs. Wright, the fabulous Yvette González -Nacer — about assimilating and becoming what she calls a gringa to become successful pinched the heart.

What one is willing to do to achieve is a choice we all must make. However, picking the wrong path could spur regret that keeps one pining for and perhaps pushing others to live the life they wish they’d chosen.

American Repertory Theater’s “Real Women Have Curves” at the Loeb Drama Center runs through Jan. 21.