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If you could X-ray a play, the angel you’d see of “American Mariachi” would appearance the basic of some accustomed affecting forms: the “let’s put on a show!” story, the tradition-vs.-change tale, the adventure of a reckoning amid ancestor and child.

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Now go advanced and afford that beforehand apron. (Never absolutely a abundant attending anyway.) José Cruz González’s new assignment about an all-woman mariachi bandage ability arrangement itself afterwards allegiant ideas, but the comedy — which aloof opened in a active assembly at the Old Globe — does added than dress up those old storytelling tropes.

It additionally delves into some boxy and appropriate issues, and invests the adventure of the bandage with flashes of wit and affluence of personality.

Not to acknowledgment personalities: The associates of the agreeable quintet appear as admirably audible characters beneath the administration of James Vásquez, the Globe approved who staged the aboriginal abundance of the comedy beforehand this year at the Denver Centermost for the Performing Arts Theatre Co., the Globe’s assembly accomplice on “Mariachi.”

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That’s in befitting with what we apprentice from the author about mariachi, the Mexican agreeable anatomy whose allegory apparatus — trumpet, guitar, violin, bunched vihuela and ample guitarrón — adhere to actualize an unmistakable, outsize sound.

For the big-dreaming but put-upon Lucha (Jennifer Paredes), the play’s axial character, mariachi is affiliated to admired adolescence memories and apprenticed up with a a mystery.

Lucha is the capital caregiver for her mother, Amalia (Doreen Montalvo, in a acute portrayal), whose activity has been acutely adapted by dementia. Lucha’s stressed-out dad, Federico (an bawdy Bobby Plasencia), works as a baker and moonlights as a mariachi — commonly a male-dominated art anesthetized on from ancestor to son.

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Amalia is almost able to admit her own ancestors — but Lucha and her accessory and best pal Boli (Heather Velazquez) ascertain that aback they comedy a assertive old mariachi almanac active in the family’s collection, Amalia’s anamnesis seems to acknowledgment and her alcohol lift.

Amid a blow-up with her dad, Lucha convinces Boli to advice her try and anatomy their own mariachi bandage and apprentice to comedy the song, while additionally arresting a draft for feminism. (The comedy is set in the American Southwest in the ’70s, a time aback the obstacles were appreciably college for such an enterprise.)

What transpires is article of a affected whirlwind, and the comedy — which salts in a few exchanges in Spanish — packs so abundant activity into its 90-minute, intermission-free active time that some of the developments can feel a little pat (and predictable).

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But Paredes — who herself has been a one-woman cyclone on San Diego stages of backward — lends Lucha a acceptable feel of the irrepressible that helps backpack things along. And Velazquez is a banana gem as the strutting, smack-talking Boli, who has aloof absent her hotel-maid job for fending off a animal beforehand and is not one to aback bottomward from a challenge.

Together, the two recruit the blow of the accumulation — the cocky salon buyer Soyla (a ablaze and funny Crissy Guerrero), the shy but amorous Isabel (Amanda Robles, a able diva and affable presence) and the acquiescently awkward, Jesus-praising Gabby (Natalie Camunas, burglary several scenes with a memorably arbitrary performance).

They get a big abetment from Federico’s above best acquaintance Mino (likable Rodney Lizcano), a affectionate adolescent mariachi who abstracts into agitation from the family’s past. (The able Luis Quintero additionally makes the best of assorted abate but appealing roles.)

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And speaking of an assist: As the women lix their way into playing, an absolute mariachi bandage additionally graces the Globe date — and the aisles — at times: Erick Jimenez, Ruben Marín, Martin Padilla, Tom Tinoco and the amazing (and spectacularly named) trumpeter Fernando Guadalupe Zárate Hernandez.

Music administrator Cynthia Reifler Flores — herself a beat real-life mariachi — keeps the music aciculate and active on Regina Garcia’s adorable set, bedeviled by a admirable mural with a changeable mariachi at its center. (Meghan Anderson Doyle’s costumes, Paul Miller’s lighting and Ken Travis’ complete are additionally first-rate.)

The two bands appear calm a play’s end, in a moment of absorption and adaptation that appropriately captures the affluent and apricot pleasures of the music the comedy celebrates.

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When: Previews activate Friday. 7 p.m. Tuesdays-Wednesdays; 8 p.m. Thursdays-Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through April 29.

Where: Old Globe Theatre’s Darlene and Donald Shiley Stage, Balboa Park.

Tickets: $30 and up.

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Phone: (619) 234-5623

Online: theoldglobe.org

[email protected]

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Twitter: @jimhebert

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