Proving that ghost stories never fall out of style, the OU School of Music Opera Theatre and the School of Dance present Benjamin Britten’s “The Turn of the Screw,” opening at 8 tonight in the Donald W. Reynolds Performing Arts Center, with additional performances taking place through Sunday.

Under the stage direction of William Ferrara and artistic direction of Dr. Jonathan Shames, the OU production of “The Turn of the Screw” is likely to surprise even the most seasoned of opera fans with its brooding aesthetic and dark themes.

This is not to say, though, that talent and quality do not also carry the show — with double casting for four of its seven roles, and a skilled student orchestra (conducted by Shames), the OU Opera Theatre’s take on Britten’s opera proves its merit throughout both of its two acts.

Britten’s opera, which received its British and American premieres in the 1950s, puts to music the Henry James novella of the same name that was originally published in 1898 and that has seen many re-workings since.

Often unsettling throughout the narrative of the opera, “The Turn of the Screw” recounts the story of an unnamed governess who has been hired by the absent guardian of two children to relocate to Bly, his English country house, to care for the young brother and sister — the primary charge of the busy guardian being that she never write to him about the children.

After becoming acquainted with Bly, the children and the housekeeper, Mrs. Grose, it is not long before the governess’ peace of mind is shattered by the return of two malevolent spirits — Peter Quint, a former servant, and Miss Jessel, the former governess of the children — who have returned from the grave with anything but good intentions. The governess’ priority is suddenly forced to go from that of nurturer to that of ever-vigilant protector of the children’s innocence.

Saturated by all shades of eeriness, “The Turn of the Screw” may go against the grain of what opera-goers have come to expect of the operatic canon, though it is sure to be a welcomed variation. For those who are not regular opera attendees, though, the production remains a noteworthy experience for its themes and qualities that are recognizable in popular culture — the 2001 film “The Others” (directed by Alejandro Amenábar and starring Nicole Kidman) explicitly borrows elements from James’ novella, and the overall mood and aesthetic of the production will prove attractive to fans of “Sweeney Todd: The Demon Barber of Fleet Street” (either Sondheim’s or Tim Burton’s adaptations of the story).

Underneath these outer qualities, though, the OU Opera Theatre’s production is successful because of its team of musicians, performers, directors, artists and technical personnel. Of the more striking elements are costuming and makeup — the audience will have little difficulty accepting the characters as beings belonging to 19th century England (equally impressive is the physical appearance of the two wicked spirits).

To the credit of the set design team, the total of the set pieces is simple yet always inventive, with a gothic sensibility that invites full spectator attention. Perhaps most innovative of all, though, is the production’s use of projected, perpetually changing images — visible at the back of the stage — that embody the tone of any given scene and grant an invaluable level of visual depth to the production.

Indeed, from start to finish, the OU School of Music Opera Theatre’s production of Benjamin Britten’s “The Turn of the Screw” warrants attention at every turn with its unquestionable unity of music, narrative, tone, design and talent.

What: OU Opera Theatre’s “The Turn of the Screw”

When: 8 p.m. tonight through Saturday, 3 p.m. Sunday

Where: Donald W. Reynolds Performing Arts Center

Cost: $15 for adults; $12 for faculty, staff and seniors; $10 for students