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So far, it doesn't hit the high points of the original 1981 anime - But it isn't necessarily trying to outdo it.
The goal of this adaptation is to be more manga accurate, and aside from some wild chapter re-ordering (Sometimes to its benefit) it does that well.
Of course, it still takes things we know and love from the old version. All the character voices are blueprinted from it, you'll hear "Lum no Love Song" as instrumental BGM, and a whole cover is included on the Blu-ray. Not to mention Toshio Furukawa and Fumi Hirano return to play their former characters' parents!
Speaking of voices: I ... actually think the new cast successfully channels what made the old performances great, while still making it their own. (Particularly Ataru and Mendou)
As for where it falls short? The creative liberties taken in the '81 anime arguably improve the manga in my eyes, and when you strip it back to its bare form, it often ends up feeling like cliff-notes.
If you're a fan of modern anime and can't get into 40-year-old cartoons for some reason, then I definitely recommend this new adaptation for you.
If you DO like older shows, watch the '81 version first, and then *maybe* go back to this version.

The series shows its heart from the very first introduction - "Kasuga Kyosuke, 15, living the best years of my youth!" Orange Road, at its best parts, is a story of youth and coming of age.

I think a lot is gained in the anime adaption compared to the original manga—Particularly with its music. Wistful tracks such as "Natsu no Mirage", "Jenina", and "Ano sora wo dakishimete" are carried by singer Kanako Wada's strong, moody voice. They help characterize Madoka as a distant and somewhat lonely character; Breaking the "perfect" illusion some fans imagine her to have. (Not to say the more upbeat songs aren't a ... blast too, such as "Night of Summerside")

Another aspect that the anime has going for it are Akemi Takeda's character designs. If you've seen Creamy Mami or even Patlabor, you're familiar with her work. She did promotional art for the show as well, using her trademark dreamy illustrations to make Matsumoto's characters pop off the page; I think her illustrations have a similar mood to the songs mentioned above. Izumi Matsumoto's manga style is serviceable, but Takeda's art is definitely more unique. (She also has a better grip on anatomy)

The extra touch of heart is what sets it apart from your typical romcom, such as Love Hina and Tenchi Muyo. It's more comparable to Maison Ikkoku. As if the visual style didn't already connect the two.

So, presentation aside, the show itself is light-hearted and goofy slice-of-life affair. Like I said, while there are little bits of emotional content sprinkled about, the core of the show is a bubbly 80's romcom. And yes, it's a love triangle story. There isn't too much drama since it's obvious who the winner is going to be, but it sets up some misunderstandings that some viewers might find frustrating. They personally didn't bother me, but I was also unfazed by Maison Ikkoku's various misunderstandings.

Onto what I thought of the characters:

Kasuga Kyosuke:

Pretty much your average romcom lead. (Plus ESP powers) Trust me when I say he's quite better than future archetypes, like the nerdy Keitaro Urashima (from Love Hina) and other boys of that ilk. For starters, 5+ girls aren't magically in love with him; I think his characterization is a lot more grounded than that. He's a growing 15 year-old boy. Given his constant inner monologues and narration, I see him as a kid coming to terms with his powers and the struggles of being a teenager. He stands up for Madoka whenever peers badmouth her, and has moments of courageousness. If only he'd have the courage to end the love triangle sooner, right?

Himaya Hikaru:

She's an energetic young girl who looks up to Madoka. When the series starts, she tries to be tougher than she actually is; She talks big to bullies and even tries to smoke cigarettes. But her character is somewhat flanderized to an overtly-bubbly genki girl as time goes on. There's a right way to write Hikaru, and there's a wrong way to write Hikaru. Given the proper writer, she becomes a lot more fleshed out. Overall I still find her to be funny and I'd often wish the best for her in the story.

Ayukawa Madoka:

Undoubtedly the star of the main cast. Cool as can be, Madoka isn't submissive at all. (Which is a departure from other female leads of the time) She stands independently and does whatever she wants, for the most part. Her mood is fickle, she's unpredictable, but ultimately I feel she wants a stable life--That's why I think someone "normal" like Kyosuke is appealing to her. Her hobbies include playing the saxophone and piano, which she plays whenever she's in a sour mood. I do think it's a bit ridiculous when they make her a master surfer though.

Since Orange Road is an earlier show of its genre, a lot of these characterizations have gone on to become archetypes. This could play a role on how modern-day viewers see them. Side characters like Kurumi, Manami, Seiji, Hatta, and Jingoro serve as comedic relief an that's all they need to be, really. They're the more innocent part of the show.

So all in all, I think it's a good piece of work. Definitely an 80's classic and a clear product of it's time. Depends if you like that sort of thing or not.