The lighting was also an integral part of the creativity and uniqueness of the show. It not only helped to achieve and change the mood and atmosphere of the opera but was more often than not also used in creative ways to further the plot. As Shadgett explains, "The opera had a number of 'tough spots' where we either didn't want to or couldn't afford to do things as they were traditionally done...Killing the Queen of the Night by having the light dissolve her shadow was our alternative to the stage direction, 'They sink into the earth.'" Shadgett credits the opportunity for creativity to "the producer, Mary Whitman ['01], [who] took care of all of the logistics with such extraordinary competence that the creative directors could just concentrate on being creative."

Perhaps one of the most creative and unique components to the opera was the stage set-up. Though the gap in the center of the stage with surrounding flats that could be lit from behind were part of the original design, set designer John Hulsey "took these initial ideas and ran with them to create a performance space with so much flexibility and visual appeal," Shadgett reports. The protruding white backdrops, along with the u-shaped stage, indeed contributed to the "visual appeal" of the show. (Particularly commendable is the fact that this dynamic but unwieldy set was taken down after after every performance so that Dunsterites could get their dining hall back.)

The energy and the enthusiasm that the opera brought forth were certainly invigorating and enjoyable. From the cast to the orchestra to the lighting and staging arrangements, all came through well organized, polished, and brilliantly creative. In the words of director, Shadgett, "Undergraduates have a sort of raw enthusiasm, a willingness to experiment, and a love for performing which one often cannot find in older, more 'experienced' singers." Indeed, the Dunster House Opera's performance of The Magic Flute was refreshing, creative and thoroughly delightful.