Andrew Lloyd Webber has never been known for the most polished of stories, resting on the merits of his undeniably magnificent orchestration to elevate his works. “The Phantom of the Opera” is no exception.

The story, as much as it is, is based on French author Gaston Leroux’s 1910 novel about a mysterious, disfigured man who lives underneath an opera house and romances a pretty young ingénue, Christine, working as a chorus girl.

A plot description seems unnecessary, however, now that the musical has been performed in over 20 countries, has played on Broadway since 1986, has been adapted to a not-so-well received film adaptation and has spawned an edited-down spectacular in Las Vegas.

The fact is, “Phantom” long ago moved beyond the realm of mere art. It can’t really be considered anything less than a phenomenon.

Perhaps that’s why there’s a certain amount of refinement and attention to detail lacking in the production currently playing at The Fox. Numerous times, particularly in the first act, the actors’ microphones seemed to cut in and out and Christine (played by actress Trista Moldovan) was overpowered by the orchestration a few times.

It’s hard to know whether the numerous sound gaffes were symptomatic of the show’s opening weekend or whether the show’s infamy has stretched it a bit beyond its means, but it is a definite problem in a musical when the singing is inaudible to an audience.

The direction, while admirable from a sheer technical standpoint, could also be tightened. One scene in the first act, in which a number of secondary characters are discussing the mysterious happening at the theater, devolves into kind of a mess at the end as it becomes difficult to follow each character’s stream of thought. If, as I suspect, the nature of the scene as Webber and his collaborators wrote it initially makes it as confusing, this production doesn’t deserve to shoulder all of the blame.

Perhaps, though, it’s time to take a step back from the phenomenon and reconsider ways to more clearly stage the show.

Nevertheless, Webber’s orchestrations are still unmatched and have aged incredibly well since the musical first debuted. Though certain numbers are plagued with, shall we say, particular ’80s elements-particularly the title tune with its fondness for synths-they are signature elements to the songs that somehow don’t come off as cheesy as they might.

The opening sequence, book-ended by the raising of the famous chandelier to the ceiling of the theater as the overture emanates from the orchestra pit, still sends goose bumps down the spine.

If there’s a quantifiable reason as to why this show has stood the test of time, the music is at the top of the list.

In addition, “Phantom” is a musical that demands a company of strong voices, and, luckily, this one delivers. Moldovan, Tim Martin Gleason as The Phantom and Sean MacLaughlin as Christine’s suitor Raoul are all up to the vocal challenge posed by a musical chock full of operatic elements, and they are supported by a top-notch company of singers, especially Kim Stengel as the diva Carlotta.

These aren’t roles just any musical theater actor could fill.

The costumes and set are sufficiently impressive, and the sheer technical accommodation and directorial planning that must be made for a show like “The Phantom of the Opera” is certainly nothing to scoff at.

Diehard fans of “The Phantom of the Opera,” should have little to complain about in this production. The orchestration and romantic underpinning that have been winning over fans for decades are just as vibrant as ever. And though this current production could use a small tune-up and isn’t likely to change anyone’s mind too much about the show itself, the brand name alone should justifiably keep Andrew Lloyd Webber fans coming in droves.

After all, “The Phantom of the Opera” isn’t the longest running show in Broadway history and one of the most profitable entertainment platforms of all time for nothing.

“The Phantom of the Opera” will be playing at the Fox through Oct. 25.

For more information about the production or the Fox Theatre’s current season of shows, visit www.fabulousfox.com.