IN ITS 14TH YEAR ON BROADWAY AND STILL GOING STRONG: Of course I mean "Les Miserables," produced by Cameron Mackintosh back in 1987 at the Broadway Theatre, where it opened to mixed reviews before moving three years later (Oct. 17, 1990) to the Imperial Theatre on West 45th St., where it’s been packing them in ever since. The performance I attended a few nights ago was shared with almost a full house of enthusiastic theatergoers. Despite the present $85 tab for an orchestra seat (it was $45 back in 1990), the applause was thunderous at the final curtain. Considering that this is a musical with a three one-half hour running time (the first act alone lasts more than two hours), and this was a matinee day, it was incredible that the last could produce such a second performance at the end of a very strenuous day.

But even more outstanding than the cast is the musical’s producer, Mackintosh, who is responsible for three other block buster Broadway musicals: "Cats," "Miss Saigon" and "Phantom Of The Opera." The first two are about to end multi-year, marathon Broadway runs, which will then leave "Les Miz" alone as Broadway’s longest running musical. As noted above, the show is now in its 14th year with no end in sight, meaning only "Phantom" can ever outdistance the box office records set by "Les Miz."

Written by Alain Boublil and Claude Schonberg (the creators of "Miss Saigon.") the epic 18th century saga by Victor Hugo sweeps through three decades of turbulent French history as it tells the story of fugitive Jean Valjean (J. Mark McVey) and his relentless pursuit by the tireless Inspector Javert (Gregg Edelman). Edelman, last seen on Broadway in one of the leads of "1776," displays a rich baritone voice. McVey (the first American to play Valjean in London) uses his beautiful tenor to the utmost to narrate his lifelong flight from the bulldog Javert. Also integral to the cast in the important role of Fantine (mother of the child Cosette) is Jane Bodle whose rendition of "I Dreamed A Dream" is an Act I highlight. with no spoken dialogue to advance the action, this is really an opera, and the story telling songs at times become hard on the ears. That is my only criticism: the show lacks only a Jerry Herman or Cole Porter score. Which is why New York Post critic Donald Lyons noted: "The show is quite a package...too often musically unsatisfying, but finally a thrilling and exhilarating experience."

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