There's something truly magical about SF State’s production of "The Magic Flute," a comedic and heart-wrenching opera written by Wolfgang Amadeus Mozart and Emanuel Schikaneder that uses audio and video to portray an instinctual battle between the forces of good and evil among beings in visual and audio form.

Directed by 1985 Tony Award nominee Barbara Damashek, in alliance with Musical Director Alissa Deeter and SFSU Symphony Conductor Michael Borowitz, the three-hour production combines the talents of the SFSU Symphony, 31 SF State actors and singers, and a jaw-dropping set, costume and music design that sweeps audiences away to ancient Egypt, where reality itself is surreal.

At the close of the curtain, Samantha Mass, a classical voice major, conjured up four words to describe the production: “Absolutely incredible, amazing, fabulous.”

Written in two acts, the story documents the journey of a brave young prince, Tamino, who is searching for himself. Along the way, he finds friendship, love and inner light await him if he is able to ward off dark forces within himself and others.

On his way, Tamino befriends a comical bird catcher named Papageno, who reminds viewers even the most innocent of characters have demons to confront, but laughter needs not be lost along the way.
Armed with magic flutes and bells, Tamino and Papageno travel together. In true fairy tale form, their star-crossed lovers await them if they can pass a series of tests. Tamino’s love, Princess Pamina, is held captive by antagonists, none solely evil, who tantalize and confuse Tamino.

Tamino’s tests challenge him to balance nature, wisdom and reason in order to thrive among the priests providing them and to be with Pamina. If he fails, his future is at risk. Papageno is challenged to realize he must free himself of the need for quick forms of satisfaction. Along the way, the men receive both harm and help from others.

Toward the end, the story proves that nothing is what it seems and love is be a vice that can blur the lines between life and death.

The most impressive aspects of the production stem from its grandeur. There is smoke, thunder, lightning, puppetry, jarring props, grand staircases, sequins that shimmer like stars on gowns, and a cadence among actors and those in the symphony that could satiate the expectations of the most critical of audiences.

There also appears to be a great number of modern influences upon the production, ranging from humorous quips like a reference to the artist formerly known as Prince, to technological treats such as the projection of English translations of German songs on the wall above the stage.

The puppetry within the production appears reminiscent of those featured in Julie Taymor’s stage production of "The Lion King: The Broadway Musical," and one of the actor’s gowns is a close replica of singer Gwen Stefani’s couture John Galiano wedding gown. The list of possible influences goes on and on.

“For a university production, it is outstanding,” said Julian Randolph, former chair of the SF State foreign language department and a longtime opera devotee. “Everything from the voices to the puppets to the stage, it was just amazing.”

SF State foreign language and literature lecturer Anita Axt agreed.

“It was a lavish production that showed great cooperation between music and theatre,” Axt said.

The opera will be playing at 8 p.m. through May 7 at the McKenna Theatre in the Creative Arts building. Tickets can be purchased through the Creative Arts box office at (415) 338-2467. Admission is $10 for students and seniors and $12 for the general public.