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And his rejiggered version of Andrew Lloyd Webber’s “The Phantom of the Opera� is as much a spectacle as it was when Mackintosh first produced it nearly 30 years ago.

This new “Phantom� is settling on stage at Centennial Hall through Nov. 1. The story hasn’t changed: The Phantom, who wears a half face mask to cover his terrible scarring, lives under the Paris Opera House. He is obsessed with the soprano Christine. He bullies and spooks the opera house owners, insisting she take the lead in performances. Oh, he demands much more: a salary (some call it extortion) so that all runs smoothly, his regular box office seat, and that Christine love him (OK, these days we’d call him a stalker).

A few then and now facts:

Then: A chandelier sits crumbled on stage when the play opens, rises in its glory as the story of its demise begins, crashes dramatically on stage at the end of the first act.

Now: A chandelier hangs over the audience before the play, cackles and sparks when the back-story begins, and plunges straight down from the ceiling, stopping just short of rows of orchestra seats, at the end of the first act.

Then: An elaborate staircase at the center of the second act opener masquerade ball.

Now: No staircase but an overhead mirror offers a new perspective and some cool optical illusions.

Then: The Phantom’s lair was loaded down with glowing candelabras, making it romantic and spooky. When Christine sees a mirror image of herself in a wedding dress that the Phantom keeps, she faints.

Now: Just a few candelabras. It seems creepier now. And no mirror image — a more self-possessed Christine does not faint.

Then: There is a dramatic moment when Christine rips off the Phantom’s mask.

Now: She discovers his disfigurement when she catches him washing his face. She’s just as horrified as before.

Perhaps the most elaborate change is the set: A two-story revolving drum-like structure sits center stage. A turn of the structure and it smoothly takes the audience to the red-wallpapered office of the buffoonish opera house owners, to a ballroom, to backstage and then onstage where we catch snippets of operas and some mighty impressive ballet dancing.

The stairs that descend to the underground lake and the Phantom’s home under the Paris Opera House emerge from out of the side of the drum and they look treacherous. No wonder the soprano Christine was terrified.

The production at Centennial Hall stars Chris Mann, who came to fame as Christina Aguilera’s operatic finalist on “The Voice.� He may be brilliant, but we don’t really know: He injured his foot during the Oct. 21 opening night performance and his stand-in, the talented Eric Ruiz, took over the role.

Ruiz has a voice and a carriage that demand attention. The Phantom is younger than in the original production, and this gives him a more menacing edge. Ruiz got the tragedy and the creepiness of the character.

Katie Travis’ Christine has a voice that soars, as well.

This road show is packed with talent. Unfortunately, Centennial Hall does everything it can to make sure we don’t recognize that. The acoustics are miserable. Much of the sound was muddy, and if you don’t get the lyrics of this almost-completely-sung show, then you miss much.

But then, most “Phantom� fans know those lyrics by heart. And this production is a visual feast — it’s worth going just to see the costumes and sets.