When Burt Shevelove revived and reimagined the 1925 musical "No, No, Nanette," he had the Roaring '20s firmly in mind, probably noting just how much the flapper decade mirrored the '70s.

He didn't have to drive the parallels home with a hammer -- the live-for-today, life's-a-party attitude of the original shines through in the 1971 update, and continues to glisten in Diablo Light Opera Company's revival of the show.

Friday's opening night was a bit rocky in places and the cast seems to still be adjusting to the "louder, faster, funnier" philosophy, as important to '20s cotton-candy musicals as tap shoes. Despite that, the show is fun and showcases some brilliant performances by Terry Darcy D'Emidio, Sheri Stockdale, Michael Ryken and Zoe Conner, whose frenetically funny performance as Pauline, the manic maid, sets what should be the breakneck pace of the show.

"Nanette," like most musicals from the '20s and '30s, has enough plot to fill a thimble, with plenty of room left over. The story deals with Sue and Jimmy Smith (Stockdale and Ron Simonian). He's a Bible publisher worth three-quarters of a million dollars; she's a thrifty socialite. Together, they have taken their niece Nanette (Stacy L. Sanders) as their ward and have vowed to raise her in a '20s style that won't roar in the least.

Nanette, on the other hand, wants a little youthful freedom. She tells her beau, Tom Trainor (Chris Giroux), she won't marry him until she's sewn a few wild oats. And that sort of agriculture is on her mind when she defies her aunt and uncle, and Tom, and heads off for a weekend in Atlantic City with her jazz-baby chums.

Meanwhile, we discover the old Bible-thumper isn't all psalms and verses. In fact, Uncle Jimmy has become involved with three young women (the delightfully tawdry trio of Meghan McGovern, Liz Pasha and Donna Rapa-Olsen) -- no hanky-panky, he just gives them money -- and they, along with Jimmy and his attorney, Billy Early (Ryken), show up at the same time in Atlantic City to sort things out financially. And, naturally enough, Sue and Lucille Early (D'Emidio) also show up in Atlantic City, just to muddy things a bit more.

Bubble-gum comics have more complex plots, but it's enough to string together a fabulous score that includes such songs as "Too Many Rings Around Rosie," "I Want to Be Happy," "Tea For Two" and a number of lesser-known songs that establish Youmans as one of the finest show composers of the 20th century.

The cast gives the show a wild ride, with the ensemble and Stockdale delivering a stunning tap-dance production number for "I Want to Be Happy." D'Emidio and Ryken shine in any number of song-and-dance numbers, and Conner is just a slapstick delight as the overburdened, bitter maid.

Director Dottie Lester, who was in the Broadway revival of the show, has created a sassy, well-paced production of the show, helped in no small way by lighting designer Aaron Spivey, who uses footlight, among other tricks to set the proper '20s mood, and set designer Kelly Tighe, who has, once again, created a beautifully evocative set. Musical director Cheryl Yee Glass has given the cast a flawless orchestra, and choreographer Don Wilson has come up with some delightful dances that capture the period.

"Nanette" is a show that is going to tighten and grow over its run, and become a piece well worth seeing.