The first blockbuster musical of the theater season is up and running with Diamond Head Theatre's production of “;Les Miserables,”; now in its second weekend of what is essentially a sold-out run.

Honolulu saw a touring company production of “;Les Miz”; in the Blaisdell Concert Hall in the 1990s, but with the director of DHT's production, Broadway veteran Peter Lockyer, also starring as Jean Valjean, this first locally staged production feels bigger than “;community”; theater.

Lockyer is phenomenal. As an actor, and even more so as a vocalist, he seems to have inspired career-best performances from those around him. Familiar talents—Tricia Marciel (Fontine), Shawna L.S. Masuda (Eponine) and Elitei Tatafu Jr.—have never looked and sounded better. New faces—most notably Thomas M. Johnson (Javert)—have rarely made more auspicious and impressive debuts.

And let it be said: The issue of “;politics”; (that comes up anytime a show's director, or someone high up in the administrative “;food chain,”; gets a much sought-after role) becomes moot the moment Lockyer opens his mouth. From there, he goes from success to success and triumph to triumph. Lockyer's rendition of “;Bring Him Home”; is such sweet perfection that it is worthy of a standing ovation mid-show.

Johnson is magnificent as Valjean's implacable adversary. He has the physical presence, body language and voice to shine in his role. “;Stars”; is one of the pivotal dramatic moments in Act I, and “;Soliloquy”; is a turning point in Act II.

Several other key players also stand out.

Tricia Marciel (Fontine) lives and dies beautifully as the ill-fated single mother who becomes a prostitute to support her daughter. A noticeable number of people in the opening night audience were sniffling by the time Marciel finished her impeccably delivered heart-rending rendition of “;I Dreamed a Dream.”; Her return just before the finale got much of the crowd emotional again.

  Shawna L.S. Masuda (Epinone) likewise conveyed the full range of emotions in her big numbers. “;A Heart Full of Love”; in Act I provided a tantalizing preview of what was to come after intermission, and she didn't disappoint. Masuda not only sang “;On My Own”; beautifully as music but also brought to life every emotional element. Few things can hurt more than unrequited love!

By the time Eponine/Masuda died (a slow and lingering death) in Marius' arms, most of the audience had evidently gotten misty enough to be sniffling once again.

Another side of life among the “;miserables”; of early 19th-century France is conveyed in DHT veteran Douglas S. Scheer's portrayal of the utterly amoral opportunist, Thenardier. It's possible to play Thenardier with a bit of roughish charm, but Scheer gives us a bottom-feeder with no redeeming qualities—even the “;Thenadier Waltz,”; potentially a moment of dark comedy, has sinister and repulsive undercurrents.

Cathy Foy-Mahi, beautifully disguised through the combined efforts of makeup/hair designers Jess Aki and Scheer, becomes a remarkable comedienne as she submerges herself in the role of Thenardier's coarse and garish wife.

Credit Phil Hidalgo (musical director) and Mikel J. Humerickhouse (sound design) for the perfect balance between vocals and orchestra. There was a bit of extraneous microphone noise in the crowd scenes on opening night, but nothing intruded on the performances of Lockyer, Johnson, Marciel, Masuda, Martina Cacciaroni (Cosette) and Tatafu in the key numbers.

Add an excellent ensemble of singer/actors, a marvelous set and impressive lighting that adds to the impact of almost every scene, and DHT's “;Les Miz”; is a show that will be remembered as a highlight in local theater for years to come.