The current touring incarnation of “Les Misérables” underscores the reasons why we go back to see it again — and for some fans, again ad nauseam.

The goods are there, of course; the adaptation of Victor Hugo’s 1862 novel set during the French Revolution didn’t win eight Tony Awards for no reason. Everything holds up well since 1980, from plot to Claude-Michel Schonberg and Herbert Kretmzer’s emotion-manipulating mix of stirring anthems and tear-jerking paeans. It’s the proverbial great night at the theater, and when done well it can be transcendent.

And in the current national tour, it is just that.

This rendition — at Detroit’s Fisher Theatre through Dec. 15 after playing there back in 2022 — is another that comes in the wake of a 2014 Broadway revival and brought changes that are both sensible and impactful. One of the original production’s hallmarks, the turntable stage, is gone, but the grandeur is the same thanks to efficient and still large-scale sets and the use of video technology to give scenes — particularly Jean Valjean’s trip through the Paris sewers with Marius and Inspector Javert’s suicide — a visual depth that’s arguably richer than before.

There’s a darkness to this production’s lighting scheme, too, which creates an aura of grit that serves “Les Misérables” well; Paris of 1832, after all, wasn’t the City of Lights we know now. The students’ barricade is again impressive, and the tempo of the songs, meanwhile, has been torqued up a bit, bringing the show in at just under three hours, including intermission.

And, truth be told, it’s good enough that anyone with sense and taste would be happy to sit through a bit more, even.

Credit that to another substantial cast. With its demanding melodies and precise choreography, “Les Misérables” is not for the feint of talent and requires the highest caliber of acting, and the standard has not wavered over decades of multiple touring companies. The linch pin in this one remains Michigan native Nick Cartell, Broadway-worthy in his portrayal of Valjean’s redemptive tale from convict to heroic Parisian gentleman; Cartell is spectacular from start to finish, and his sustained notes in “Soliloquy,” “Who Am I?” and “Bring Him Home,” as well as his duet with Fantine (Lindsey Heather Pearce) on “Come to Me,” are goosebump-inducing.

The rest of the company is nearly as good — including the full cast when delivering ensemble highlights such as “At the End of the Day,” “Lovely Ladies,” “Do You Hear the People Sing” and “One Day More.” Nick Rehberger adds an appropriate stiffness to his portrayal as the dogged Javert, while Jake David Smith (Marius) and Delaney Guyer (Cosette) sing their parts with pop sensibility that’s more contemporary than classic — though Smiths’ “Empty Chairs at Empty Tables,” as well as its staging, is stunning. Christian Mark Gibbs is genuinely commanding as the student leader Enjolras, while Matt Crowle (from Marshall, Mich.) once again balances Thernadier’s comic and sinister aspects and Victoria Huston-Elem as Madame Thernadier matches him sneer for sneer.

Mya Rena Hunter, meanwhile, adds a touch of anger in her portrayal as the Thernadiers’ daughter Eponine. It’s appropriate to the character’s circumstances — the family’s poverty in Paris and her unrequited love for Marius — and Hunter delivers the signature “On My Own” with a sweep of emotions that makes her subsequent death (after 44 years this is a spoiler?) and duet with Smith on “A Little Fall of Rain” even more affecting.

There’s also a nice touch during the “Finale,” when an echo is added to Fantine’s voice as she and Eponine come to usher Valjean into the after-life.

“Les Miserables'” key messages, that “to love another person is to see the face of God,” and its hope for “when tomorrow comes,” still resonate — and perhaps moreso in present times. And when they’re delivered with the flat-out excellence of his company, it’s well worth seeing one more time — and beyond.

“Les Miserables” runs through Dec. 15 at the Fisher Theatre, 3011 W. Grand Blvd., Detroit. 313-872-100 or broadwayindetroit.com.