Les Misérables is the second longest-running production in London and the sixth longest ever on Broadway. Indeed, the bar is high for the Tony-award-winning revival from acclaimed producer Cameron Mackintosh of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical phenomenon. In 1986, The Kennedy Center hosted the pre-Broadway run of “Les Miz” and the audience at the Kennedy Center tonight seemed beyond enthusiastic to see its return. The energy level was on the level of seeing a favorite rock star in concert! So should you try to get tickets to this touring production? YES! The production is outstanding on all levels.

For those unfamiliar with the narrative, based on Victor Hugo’s novel, here’s a quick summary.

Set in France in the early 19^th century, “Les Miz” is a story of struggle and transformation. Jean Valjean, previously jailed for 19 years for stealing a loaf of bread, is freed from prison and through an encounter with a bishop is transformed into a man on a quest for righteousness. He becomes a factory owner, a gentleman, and a father figure to Cossette who he rescues from an abusive family, the Thénardiers.

Throughout, he is pursued by the relentless Inspector Javert, who only knows law and order, and has a deep underlying, although often misguided, faith in God. The characters get caught up in the Paris revolts of 1832, leading to memorable scenes at the barricades. Cossette falls for Marius, a student fighting for freedom. A love triangle ensues, involving Eponine, the downcast daughter of the Thénardiers, also tragically in love with Marius.

The present touring production at the Kennedy Center has eliminated the original production’s two turntables, reframed the music, reinterpreted some of the songs, and added electronic visuals, so that we see Jean Valjean crawling through the sewers and Javert falling off a bridge into the raging river below.

The set design (Matt Kinley) for the touring production is impressive, enhancing the overall feel of the performance. The scene at the barricades is particularly well-designed, resembling a painting of the era. Ever-changing backdrops set the scenes throughout the show; however, the lighting is darker, much like the paintings of the period which tended to be painted with less vivid oil colors. This darkness invades the entire production, but the performances bring light.

Nick Cartell as Jean Valjean portrays the role with both compassion and a rich, octave-ranging musical voice. Valjean has a tricky role: he has to be played as both unremorseful and repentant, dynamic and soft, a fighter and a pacifist, among a few other complexities. And, as this is a musical, he has to sing his heart out — literally leave it all out on the stage. Songs like “Who Am I?” command it, and “Bring Him Home” was the highlight of this production.

On the other-hand, Preston Truman Boyd, who displays a strong singing voice, was not quite antagonistic or overpowering enough as Javert. On some level, we need to really hate him for his obsession in making life a living hell for Jean Valjean. Yet perhaps most of the issue stems from the script, which forces the actor playing Javert to jump from realistic scenes to serving as the butt of several jokes. Vocally, Boyd’s power and presence in “Stars” was impressive.

Halley Dortch, as Cosette’s ill-fated mother, Fantine, scores with the powerful lament, “I Dreamed a Dream,” while Christine Heesun Hwang was captivating as Eponine and received an extended ovation for her well-nuanced “On My Own.” Gregory Lee Rodriguez gives an appealing earnest quality to Marius, with his “Empty Chairs at Empty Tables” one of the show’s emotional highlights. Addie Morales ably conveys Cosette’s yearning to learn more about her life, so sheltered by Valjean, in “In My Life”.

Devin Archer as Enjolras, leader of the student revolutionaries, commands attention with his forceful “Red and Black” and “Do You Hear the People Sing?” The latter becomes as powerful an anthem as I have heard on any stage.  Henry Kirk was adorable and captivating as the spunky Gavroche. His middle finger salute to Javert after the over-zealous policeman is exposed as a traitor to the student rebels, brought cheers and laughter from the audience. Even though we lament that his song “Little People” was drastically cut when the show first moved to Broadway in the 1980’s, Gavroche still captivates the audience as one of the most relatable characters in the show.

And of course, there is the comic relief of Monsieur and Madame Thénardier. It’s a dark comedy they bring, but their antics have needed levity that helps keep the pacing of the show from getting predictable or slow. Matt Crowle delightfully brought Monsieur Thénardier to life and had audience members laughing in their seats during “Master of the House. “Even when his character was supposed to be a deplorable jerk, Crowle still managed to get smiles and laughs. Christina Rose Hall also makes a memorable impression as Madame Thénardier, nailing both the sarcasm and physical comedy.

The costumes (Paule Constable) and sets were very much on point with the era the show is set in — early 1800s France. One element I found particularly appealing was the use of background projections showing Hugo’s artwork. He was a painter as well as an author and to incorporate his artwork in the set was a smart move and a nice tribute to the mastermind behind the story.

Needless to say, the music is timeless, a notch or two above typical Broadway fare. The full ensemble pieces “Lovely Ladies,” “One Day More,” and “Do You Hear the People Sing” were especially memorable.

Inherently, Broadway revivals run the risk of feeling, well, old and dusty. This production has done a commendable job of avoiding that label, and although it does not have the hip-hop fast-paced energy of Hamilton, the music and story behind “Les Miz” make it as thrilling and relevant today as it was before.

This is a story of redemption, reward, and a bit of treachery; tragic on many levels yet ultimately uplifting. That’s what made it so popular before and still is today. The message is timeless: Les Misérables offers hope for a better future.

Just a word of advice: The show starts exactly on time. The springtime traffic in DC is rough and the view from the Kennedy terrace is beautiful but be mindful that not everyone can be seated in the last 3 minutes before the show starts, so plan ahead and get seated a tad early.

Running Time: Approximately 2 hours and 45 minutes with one intermission

Les Miserables plays through April 29^th 2023 in the Opera House of  The John F. Kennedy Center for the Performing Arts, 2700 F Street NW, Washington, DC. For tickets call the box office at (202) 467-4600 or purchase them online.