You don't have to be a Francophile to enjoy C'est la Vie. But loving all things that Americans stereotypically view as French ( and having at least a junior high school understanding of the Gallic language ) will certainly help.

This first local professional staging of Gregg Opelka's revue is something of a triumphant return. C'est la Vie originally debuted in 2002 at the Theatre Building of Chicago under the title La Vie Ennui, and has since received international productions in Vienna, Budapest and on tour in Spain.

Now under the auspices of Light Opera Works, C'est la Vie proves to be plenty of frothy fun. Opelka shows off his love of French cabaret songs in the style of Edith Piaf, by simultaneously honoring and sending them up.

The plot ( of which there isn't a lot ) hinges on two scheming chanteuses with heavy French accents named Dominique and Fatiguée. ( The joke in the latter's name is that it sounds like the French word for "tired." ) Forced to sing Piaf songs night after night at the second-tier cabaret Chez Leplée ( named after the club owner who discovered Piaf singing in the streets ) , the two arrange for their boss to be temporarily detained so they can perform their own material.

So aided by their silent and existentialist accompanist/composer Jean-Paul-Pierre ( an accomplished Jeremy Ramey ) , the two playfully one-up each other in the style and sophistication departments. But unbeknownst to Dominque, Fatiguée plans to break up the act.

As Fatiguée, Jennifer Chada is definitely the brassier of the two. Chada is also expert at showing off her backhanded jealousy of Dominique's obvious awareness of her own beauty. As Dominque, Kelly Anne Clark gets to vamp it up and show off her gorgeous soprano voice.

Both Chada and Clark make wonderful caricatures of experienced French women who know all too well about unfaithful lovers and disappointments in their respective singing and ballet careers. And under director/choreographer Rudy Hogenmiller, the two actresses shine brightly throughout.

The French stereotyping extends to the production design as well. Courtney O'Neill's cozy café set design is an art nouveau novelty, while costumer Darcy Elora Hofer lays it on heavy with the feather boas and shiny chiffon.

While C'est la Vie probably won't win any awards from the Alliance Française for authenticity, it certainly will chime with audience members' romantic notions of a night out on the town in Paris. And if you are genuinely a fan of all things French, you'll feel like you're in on Opelka's finely crafted joke.