Broadway newcomer Tatiana Cordoba Rehearsal and are resting in their dressing room between this evening performance. On the agenda: finishing lunch, hydrating like crazy, and holding some on TV – after this interview, of course. We are here to talk about her broadway debut in music Realizes in real womenWhich opened to praise, earned two tony nominations, and is known to cause mid-demonstrations during a certain underwear scene-but we will later reach it.

Grows in real women: music Josephina is based on Lopez’s drama, starring the 2002 film by a Little unknown actress in the time of America Pharreera. Set in 1987, Decrease The Mexican immigrants’ spunty teenage daughter Ana, who works in her family’s dress factory in Eastern Los Angeles, but has her own big dreams. Cordoba Ana, and freedom, empowerment, body image and feminism, which is accompanied by an inherent thread of all immigrant experience. “I watched the film with my parents after being cast, and it was such a strange experience, because America exploded with Ferrera’s career Realizes in real womenIt was very reflective of what I was about to undergo, “Cordoba says. San Francisco origin, which herself calls himself” Bay Area Baby “, knew from a young age that she wanted to pursue the music theater, and even enrolled in the prestigious Boston Conservatorry to study the musical theater in the college.

Cordoba, now 25, was cast as Ana after a nationwide discovery, but gave an audition of about three years before participating. Earlier around some time, she was very nervous, she could not stop her hands from shaking. But last time, “I have never felt more calm in an audition, and whatever will result, just so ready and peacefully,” she says. She has learned to tap in the spirit of regularly calm, when she takes down her underwear night after night after night, sings and dancing with the rest of her artists, which is for the song “Real Women Have Curves”. During the number, the Ana Dress is fed up with a lot of heat and disgusting conditions in the factory, that she takes off her clothes and continues to work, motivating other women to follow the suit. Music number is probably one of the most feminist scenes on Broadway today, which embraces the positivity of the body between women of all ages and sizes. She says, “It was really difficult to feel the power of that scene until I saw what it does for the people,” she says.

Here, Cordoba opens glamour Regarding his audition process, the internal snack breaks down, and even in his period, sing and dance on stage in his unwanted people.

Glamor: Before cast Realizes in real women What did you have related to the 2002 film on Broadway?

Tatiana Cordoba: Growing up, it was taught as this revolutionary piece, especially for its time, looking at the elements of the body’s positivity and the immigrant story. So I always knew about it, but I had not seen it really for a long time. As soon as I heard that it was being made in a music, I knew that I wanted to be a part of it, but I did not re -superstitus until I was cast until I was cast. Once I finally started it again, it was really good to understand all that it stood for that time, and see that it is so relevant even today.