Les Miserables is back, and to no one’s surprise, it’s STILL worth seeing! The first revival of the musical since the Academy Award-winning film graced the big screen, this version, adapted by Alain Boublil and Claude-Michel Schonberg, showcases a grittier, smokier, gloomier France, somewhat improving on aesthetics employed in the film. Amidst the doom and despair, though, is joy. The acting is on and the singing is even better — Ramin Karimloo is an astounding Jean Valjean and delivers one of the many performances that will call you back to the Imperial Theatre for another trip to the French Revolution. You’ve seen it before, but that doesn’t make the tale any less heart wrenching. If you liked seeing “Les Miz” before, you’re definitely going to like seeing it again now.
NEW YORK TIMES
“While I was watching the new revival of Les Misérables, it occurred to me that this beloved stage adaptation of Victor Hugo’s novel may have helped pave the way for the pop singing contests that have proliferated across the globe in this century. Much like those televised competitions —American Idol and The Voice being the national brand leaders — Les Misérables presents audiences with a stage full of singers who, one by one, have a chance to step into the spotlight (in this case a very smoke-suffused one) and astonish us with the mighty heft and range of their voices.”
NBC NEW YORK
“Who is he? Who is he? He’s Ramin Karimloo, and as Jean Valjean, he’s the main reason to reacquaint yourself with the “newly reimagined” revival of Les Miserables, now open at the Imperial Theatre. Sentimental? The Imperial is where “Les Miz” ran for the lion’s share of its original run, which ended just over a decade ago. Since then, it’s been hard to miss the epic story based on Victor Hugo’s novel, because it never really went away. “Les Miz” returned to Broadway in a slimmed-down 2006 revival, and hit big screens in 2012.”
“The turntable that was the defining design element of the original Les Miserables is gone. Yet this first revival to hit Broadway since Tom Hooper’s bludgeoning screen version extended the brand often seems like a record being played at high speed. Alain Boublil and Claude-Michel Schonberg’s all-singing mega-musical adaptation of Victor Hugo’s epic 19th century novel hurtles along in a breathless marathon for almost three hours. Despite that running time, this reboot feels faster, grittier, gloomier and, above all, more emphatic than ever, which is saying something for a show that was always an unrelenting assault on the tear ducts.”
“It’s been just six years since the last (and limp) revival of Les Misérables left Broadway. But it’s also less than two since Tom Hooper’s big-screen adaptation rode the Occupy Wall Street wave to box office riches and three Academy Awards. Now uber-producer Cameron Macintosh is remounting Alain Boublil and Claude-Michel Schonberg’s blockbuster musical about income inequality in 19th-century France with a first-rate cast and a new production that nods to its recent cinematic incarnation.”
“The barricades have once again gone up on Broadway. Are they worth dropping everything and joining this time? The answer is a resounding “Oui!” Bring your flag. The well-traveled Les Miserable has rolled into town for its third bite at the Broadway apple — not to mention fresh off a celebrated 2012 film — but there’s nothing tiresome about its gloomy, aching heartbeat. Directed this time by Laurence Connor and James Powell, with new orchestrations, stagecraft and costumes, this terrific Les Miserables opened Sunday at the Imperial Theatre, capping a national tour that began in 2010. It’s beautifully sung and acted — Ramin Karimloo, Will Swenson, Caissie Levy and Nikki M. James as leads can do no wrong — and the clever sets, superb lighting and moving projections highlight a creative team fully embracing Victor Hugo’s epic novel about good and evil, revolution and romance, in 19th-century France.”