I don’t think anybody could realistically see this imperfect, absurd, magnificent show and suggest that its crown as London’s longest-runner is in any danger.
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The show remains a thrilling triumph. Here's to the next 35 years, as it looks set to become The Mousetrap of musical theatre; but unlike that murder mystery, there's hardly any mystery to why it's such an enduring success.
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Assisted by a cluster of terrific lead performances...London’s longest-running musical has seldom looked, or sounded, so fresh.
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All in all, Les Mis and the refurbished Sondheim feel fit for purpose for the next decade or three.
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It's all very efficient and sharp. At its heart is Jon Robyns as a big-voiced and tender-hearted Valjean, catching the character's tortured valour and bringing gentle passion to the quiet "Bring Him Home"...
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[Les Miserables] remains grossly melodramatic, overlong and overloud. Most of the lyrics and sung-through dialogues are painfully clunky, every emotion stamped in blaring capitals.
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Swift, slick, sexy, sounding better than ever and constantly spectacular, the posters that flood Shaftesbury Avenue are, to be fair, pretty much on the money: this is a Les Mis for the 21st century.
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It barely needs to be said that the picture that [Les Miserables] paints of the poor echoes sights you can see in the streets every day, and so there is little point in denying its political punch.
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