'Les Miserables' at Playhouse Square -- at 'The End of Day,' musical has never sounded better | Theater review

Oct. 14—It's been too long, old friend.

One of the greatest stage musicals of all time, "Les Miserables" — experienced by some 130 million people since its Paris debut in 1980 — last graced a stage at Cleveland's Playhouse Square almost exactly four years ago.

While big-time theater got going a year ago following the shutdown due to the novel coronavirus pandemic — it roared back to life at Playhouse Square with Disney giant "The Lion King" on Oct. 1, 2021 — could it be said it TRULY was back until "Les Miz" was on tour again?

The show's North American company has just relaunched at Playhouse Square's KeyBank State Theatre with a borderline-spectacular production that showcases all of the musical's drama, emotion and, last but not least, incredible songs.

(For the record: The production in London's West End relaunched a little more than a year ago.)

Adapted from the 1862 Victor Hugo novel set in the early part of the 19th century in France, its story is one of loss, love, obsession and rebellion. The sung-through musical is the work of Alain Boublil and Jean-Marc Natel, original French text; Claude-Michel Schonberg music; and Herbert Kretzmer, lyrics.

To celebrate its 25th anniversary, producer Cameron Mackintosh a few years ago largely reinvented its presentation, transitioning it from a revolving stage to a more traditional approach that works equally well.

Based on a recent midweek performance, the production running in Northeast Ohio through Oct. 30 is chock full of topnotch talent, with the performers' gifts enhanced by strong technical aspects such as absolutely perfect sound.

This. Show. Sounds. Great.

That is apparent by, if not before, "At the End of the Day," the anthem performed after the prologue that introduces us to the show's main protagonist, Jean Valjean (Nick Cartell). Sung at first with the show's ensemble huddled together as a collection of factory workers and unemployed men and women, "At the End of the Day" is, simply put, a banger.

If you're not ready to rock, "Les Miz" style, by this point, you may want to check your pulse.

Many key roles help comprise this show, but it depends on a quality performer in the role of Valjean and another as Valjean's law-obsessed foil, Inspector Javert.

Cartell portrayed Valjean — who has spent 19 years behind bars, as Prisoner 24601, after stealing a loaf of bread to feed a family member — in Cleveland in 2018. And Preston Truman Boyd likewise has experience playing Javert, who refuses to believe Valjean could be a decent man and is stymied when shown mercy by his foe.

You can scour cast recordings to find singer-actors who top them — but not by much. They give assured performances in their respective roles. Boyd's rendition of Javert's impactful first-act number "Stars" is absolutely stirring — a song that always impresses more in person than on a recording, as you gaze at Javert lit by spotlights and the faux night sky — while Cartell's version of early Act II song "Bring Him Home" is as fine as your ever likely to hear. Appropriately, the latter drew something a little extra in terms of applause on this night.

Other highlights include the company's rousing first-act closer "One Day More" and Christine Heesun Hwang's treatment, as the lovestruck Eponine, of the sad-but-lovely "On My Own" right after intermission.

Not even a mobile phone's ring could derail beloved Fantine number "I Dreamed a Dream" right before the song kicked into high gear, cast member Haley Dortch unearthing a memorable performance. That said, we wanted just a pinch more from the heartbreaking line "... but he was gone when autumn came!"

Other nits to pick? We have a couple.

Let's start with Matt Crowle almost speaking his way through fan favorite "Master of the House" as jester-criminal Thenardier. Still, Crowle is plenty colorful in the role and has won you over by the late-show "Master" remix "Beggars at the Feast" featuring him and the fun Christina Rose Hall as Madame Thenardier.

And then there's Addie Morales, as Valjean's adopted daughter, Cosette, whose semi-operatic approaches to back-to-back shared numbers "In My Life" and "A Heart Full of Love" leave them a little cold.

Lastly, the show itself has its usual issue: a second act that can't live up to the first. Most of the show's best numbers already are fading into memory early in Act II, which simply runs too long, the show being more marathon than sprint. Yes, we need all the drama surrounding the shootout at the barricades, but there are only a few other truly impactful moments. To borrow an always-crowd-pleasing line from Madame Thenardier, "there's not much there."

As typically is the case, the highs far surpass the lows with this production of "Les Miserable," which has Playhouse Square's 2022-23 KeyBank Broadway Series off to a booming-but-beautiful start.

And hey, "Les Miz," don't be such a stranger.

'Les Miserables'

Continues through Oct. 30 at Playhouse Square's KeyBank Theatre, 1519 Euclid Ave., Cleveland. For tickets, $29 to $129, call 216-241-6000 or visit PlayhouseSquare.org.