What is it about Les Misérables that keeps people coming back? The chap in the seat next to me and his wife had already seen the show a number of times and are off to see it again soon. Judging by the number of tour t-shirts on show and snippets of overheard conversations, they were far from being the only ones in last night’s audience at The Alexandra to be watching the show for the umpteenth time.

Les Mis truly is a phenomenon. Premiering in 1985 and following countless sell-out runs in more than 50 countries, a Hollywood film and a concert version, it seems as popular today as it ever was.

But the Birmingham & Midland Operatic Society’s (BMOS) production is a little different. While Les Misérables has previously been licenced for school and youth groups, this year, to mark the show’s 40th anniversary, project Les Misérables: Let The People Sing permitted the first amateur performances by adults. BMOS is one of 11 lucky groups selected for the initiative. In collaboration with three other local societies (Bilston Operatic Company, Bournville Musical Theatre Company and West Bromwich Operatic Society) and supported by teams from Cameron Mackintosh’s Music Theatre International, BMOS has succeeded in pulling off what must surely be one of the biggest achievements in their history; quite simply, their production of Les Mis is a triumph.

The relentless game of cat and mouse between Jean Valjean (Wil Neale) and Javert (Robbie Love) is the thread that holds this story together. Neale’s renditions of Valjean’s big solo numbers (a soul-searching Who Am I? and a poignant interpretation of Bring Him Home) left hardly a dry eye in the house. Love was a beautifully menacing Javert, filling the stage with hatred and desire for revenge. The accomplished performances of Annabel Pilcher (Fantine), Ismay Dudzinski-Grubb (Cosette) and Beth Dickson (Éponine) were heartfelt and touching. As Monsieur and Madame Thénardier, Tim Jones and Sophie Grogan brought more than a little pantomime comedy to proceedings - a touch of light relief in a world of poverty and hardship - while as Gavroche, Theo Traat stole the show whenever he was on stage.

Particularly compelling were the big chorus numbers, with their polished choreography, meticulous attention to detail and beautiful musical harmonies. The cast’s enjoyment of performing was infectious, and it was impossible not to be swept away by shared emotion. This is surely musical theatre at its best.

So what is it about Les Mis that entices people to watch the show again and again? The universal themes of life are there (redemption, forgiveness, love, heroism, evil - all play a part). The songs are firmly embedded in popular culture; who can resist humming along with I Dreamed A Dream and Can You Hear The People Sing? There are heroes and villains, joy and sorrow, life and death, wealth and poverty, justice and injustice. Take all of this, set it against a backdrop of revolution-fuelled Paris, add a host of talented performances with a sprinkling of live-theatre magic, and the whole makes for a hugely impressive spectacle - one that will surely live long in the memory of all who have been fortunate enough to see it.

Five stars

Les Misérables was reviewed by Rachel Smith on Tuesday 10 June at Birmingham theatre The Alexandra, where it shows until this Saturday 14 June.