In 1945 the Parisian-born singer, Edith Piaf, was investigated for charges of collaborating with the Nazi regime. Piaf was a performer, a survivor and a pragmatist, but was she a collaborator? For her, music stood beyond politics; she said: 'Ne pas chanter, c'est mourir' ('Not to sing is to die'). Both poignant and funny, the play includes explicit language and content. It also raises serious questions about truth and lies, collaboration and resistance: by failing to resist governments, how far can we be said to be colluding with their values and actions?