Arlene Violet knows about “The Family.” Her history as the former Rhode Island Attorney General gave her an inside look at the workings of organized crime, coming close to the cops and the mob.

While “names have been changed to protect the innocent and not-so-innocent,” you will recognize many of the characters, beginning with the godfather himself, Raymond Patriarca.

Violet has written the book for this new musical that is filled with interesting characters and a good plot. To add to the enjoyment, Enrico Garzilli gives us music and lyrics that rise above many of the songs written for the Broadway stage today. Performed in the upstairs theatre at Trinity Rep, the musical is directed by Peter Sampieri, who takes full advantage of the huge space to flesh out the story.

Two murals provide the atmosphere for Federal Hill with drawings of the State House, Scialo Brothers bakery and the infamous Coin-O-Matic storefront. The arch is there, and lines on the stage floor indicate Dean St., Atwells Ave. and Broadway.

Minimal sets and props are smoothly wheeled in and out during the many scene changes. During one dramatic scene stage left, center and right have three things going on at once. It works because of excellent timing and smooth transitions.

The cast, made up of many actors involved in Rhode Island College’s excellent theatre program, and a mix of locals and out-of-towners is outstanding, without a weak link among the 16 members.

Tom Gleadow, who has done work at Gamm Theatre, is outstanding as Don Marco, the godfather who would order men killed at the drop of a hat, while at the same time paying a widow’s hospital expenses and giving to every charitable cause. Gleadow enters the stage through a center doorway, defining his character from the get-go, as the ensemble sets the tone with one of the musical’s best numbers, “Family Values.”

The two plotlines revolve around his relationship with his gay son, Renaldo, a situation that puts him in a state of denial, plus his troubles when two members of his “family” turn informants.

Cranston’s own Mark Colozzi is strong in voice and acting ability is Joe Barros, the henchman who turns state’s evidence, is released from jail and sent to a safe house. This tough killer has a soft side for his young daughter, ironically bringing her a doll for every man he killed. Colin Earyes is a sympathetic Renaldo, heir to the family business who would rather sing opera at PPAC.

We must pay homage to the excellent supporting cast who sing and dance up a storm. The choreography is very good and the voices blend beautifully. The dancing highlight takes place in an airport, with an intricate ensemble piece, “I’m Minnesota Fats,” led by Jim Sloan as the “350 pound canary.”

Warwick Beacon writer Kim Kalunian proves to be more than an excellent journalist, showing off her singing, dancing and acting talents as Sally, a strong member of the ensemble.

The seven-member band, led by Dennis Buck, provides excellent backup, not only for Garzilli’s beautiful songs but also for the scene transitions. One song really got to me: “Shelter,” sung in harmony by Earyes, Gleadow and Naysh Fox (Renaldo’s partner) and sung again in reprise is as beautiful and moving a “Broadway number” as you will hear.

Also impressive, and sung brilliantly by Jeanine Belcastro, is “What Will Become of Me.”

Criticisms are few. (Must a critic always find something to criticize?)

There are three lame mob jokes that aren’t really necessary, and the death scenes needed a little work on opening night. These are all very minor for a new musical that has great potential…and not just in Rhode Island.

Violet has very discreetly limited the Rhode Island references, which make the musical saleable on Broadway or even in Peoria. We all laughed at the Twin Oaks and Rocky Point references and enjoyed the local connections, but Don Marco could just as easily live in New York or Philadelphia.

The musical has moments of hilarity (Gleadow has a few great asides), poignancy (you actually feel for these thugs at times), and a touch of the operatic, especially at the end.

Like the classics (“Oklahoma” and “West Side Story” come to mind), “The Family” will most certainly be fine-tuned as its run is extended. It certainly has the potential for a wider audience outside of Rhode Island.

“The Family” is at Trinity Rep. through July 1. Call 351-4242 for reservations.