The rich aren't that much different than the rest of us. They just drink more -- that, anyway, is how it looks in "High Society," a Cole Porter's-eye view of the upper crust circa 1938.

And, as is mentioned several times during the show, what a swell party it is.

Diablo Light Opera Company has staged an elegant, energetic production of the 1998 hybrid musical, which blended elements of "The Philadelphia Story," and its movie musical adaptation, also called "High Society," into a light and fluffy musical comedy with a barrel full of Porter tunes and a book by Arthur Kopit that, for the most part, recreates those lovable stock characters from '30s drawing room comedies, the happily drunk uncle, the bratty little sister, the charming ex and all the others you got so familiar with in black and white movies.

Wisely, Byron Peters, who directed the show for DLOC, plays it all for laughs -- basically, what you get here is a lot of delightful music held together by a thumbnail version of "The Philadelphia Story." And, while it may even be a bit too light of plot, the literary lackings are more than made up for with the tunes, and the stylish production numbers created by Peters and choreographers Don Wilson and David Smidebush.

"High Society" is the story of the impending wedding of socialite Tracy Lord (Wendy Wilcox), who, after splitting with yachtsman C.K. Dexter Haven (Mike Dederian), plans to wed George Kittredge (Vincent Perry), a self-made millionaire with eyes on the White House and a personality as dry as a vacant lot in Arizona.

So, right there, you can see what's coming. But in this show, the fun is in the journey, not the destination.

Haven runs into a plan by a scandal magazine to expose Tracy's father, Seth (Tom Murphy), for his dalliance with a dancer in the city, and cuts a deal that would trade that story for exclusive rights to cover the wedding. So a reporter, Mike Conner (Christopher Olson), and photographer, Liz Imprie (Dana Lewenthal), are added to the mix.

Also along for the ride are Tracy's mom, Margaret (Kathy Ferber), younger sister, Dinah (Jennifer Levey) and Uncle Willie (Alan Cameron), a gin-guzzling charmer who decides he's in love with Liz.

Actually, it seems that just about everyone is in love with someone else, and not necessarily the person they are supposed to hook up with, which charmingly complicates the days leading to the wedding. And then, the whole thing is further muddled by mistaken identities and romantic misunderstandings.

It's not high drama, but the production unfolds with such high style, the plot doesn't make that much difference. The story is driven by a singing, dancing chorus of household help who make everything from production numbers to set changes a delight. The servant chorus also serves as a kind of everyman, making sly comments on the goings-on in the Lord household.

The tightly knit group adds to the ensemble feel of the piece, but there are some notable individual performances, too. Wilcox is outstanding in the show, creating an appealing character and using a brilliant singing voice to make her performance memorable. Cameron, as Uncle Willie, is hilarious and stops the show a couple of times with "I'm Getting Myself Ready for You," a charming duet with the delightful Lewenthal, and "Say It With Gin," a personal philosophy paying tribute to the martini staple.

What is most stunning about the production, though is its overall look. Set designer Jean Francois Revon has created a fabulous set that not only conveys the personality of the show, but also puts a distinctive DLOC stamp on the play, something that Peters has done with his direction as well.

"High Society" is far from a perfect musical, but it's elegant, fun and a great way to spend an evening with the tipsy rich.