Dear Lucy

Dear Lucy is an epistolar larp.
It revolves around Lucy Westenra, seen through the eyes of those that knew her, while they witness her transformation from a bright young thing into a bloodthirsty, undead being. Through the larp, her dearest ones narrate with the help of letters each step of her vampiric transformation and finally discuss if they will be brave enough to put a stop to her unlife.

The main inspiration is the novel “Dracula” by Bram Stoker, published on 1897. Together with other influences like the film by Coppola (1993), “Nosferatu” by Murnau (1922) or “Carmilla“ by Sheridan Le Fanu (1872).
The larp focuses on Lucy, the only character in the novel that experiments a complete transformation. Also, the forgotten one in later adaptations.

Epistolar larp, Dracula, Bram Stoker

Life of a House

This house hasn’t always been old or so empty. For a long time, many decades ago when your great-great-grandparents moved in, it was vibrant, full of life and conversation. Back then it didn’t need the wake of a funeral to fill it with family. And during the Blitz, how everyone came together to sing and dance to keep their spirits up.

It all happened here, in this house. The memories and ghosts of those times past permeate the very walls. Yet all seems forgotten now. The life of this house has changed so much…

In Life of a House, you will play three different members of a household in different eras – the Victorian period, World War II, and contemporary times. This is a low-key, realistic drama about a place and the people who have inhabited it. You will explore what it means to be part of a family and a community, and how such dynamics have changed over time and according to the social mores of the period.

Memory, family, home


By: Jeppe Bergmann Hamming and Maria Bergmann Hamming

Twelve people in a café on Montmartre at the end of the 19th century – all entangled in issues of love, beauty, freedom and truth. Day after day they live out these issues through their art, trying desperately to break free or to find that one true love.

Day after day goes past, and for each day another passed chance. But tomorrow… tomorrow will be different… Together we will create these 12 fates and live them out through the use of body, emotion, music and art rather than talking about it.

We play with our bodies rather than our heads. The scenario provides props and costumes needed for the scenario, but the player needs to bring a basic black set of clothes to wear.

The larp was written and played at Fastaval 2013 in Denmark, Black Box Horsens, Stockholm Scenario Festival, Grenselandet, “Playing to lose” (London), Metamorfozes Larp Festival.

Twist and Shout

By: Hila Grgory Meinrat and Talia Nirgad Hasson

Thin walls separate near-identical houses with near-identical families eating near-identical dinners. Smile. Eat your vegetables. Don’t raise your voice. And whatever you do, don’t let them hear the music. What would the neighbours say? An optimistic game about freedom and oppression in a society where parties are forbidden.

The game moves between realistic drama of a family dinner in near-future dystopian suburbs, and the surrealistic wild world of dance parties. Players will go between their role as a father, a mother, a son or a daughter, and the manifestation of their inner desires, expressed through movement, touch and colour.

Dancing, party, oppression, expression, freedom, family


By: Frederikke Sofie Bech Høyer, Charles Bo Nielsen, Hans Christian Skaarup, Nicolai Strøm Steffensen
Run by: Charles Bo Nielsen

This is a Blackbox adaption of Evan Turner’s Fastaval Freeform Scenario “Metropolis” from 2012.

Based on the dystopian sci-fi movie Metropolis from 1927, this theatre-style larp takes the players through a series of scenes describing the story of the collapse of the ‘Heart Machine’.

We’re in a world where suppressed workers dwell and labour beneath the surface of the earth, while the wealthy upper class lives in decadence in tall buildings reaching up in the sky. The saint-like Maria encourages the workers to use peaceful methods to improve their situation, but her efforts are in vain.

While each scene generally inhabits two to four characters, the remaining players make up the scenography the city. Being it the the heart machine, the bubbling pots of a laboratory, the city skyline or wealthy Sunday strollers in the park.

The genre is theatre-style larp where the players can decide on how the story develops, but only to a limited degree what happens. The larp uses various techniques to assist the players on remembering the story, such as full transparency, pre-scene ‘voiceover’ and information projected on a wall in the background during the larp.


By Hila Grgory Meinrat and Erez Zvulun

In Gone, players will play the family and friends of a young girl who took her own life, a year after it happened. They all carry the burden of guilt, secrets and memories. One of the players will play the echo of Lyra, not a ghost or an illusion, but a memory, a fantasy. An incarnation of what could have been, and what went wrong.

The main part of the game will be slow paced, quiet realistic drama, exploring the relationships between the characters. From time to time, characters can step out of the here and now, and play a memory they shared with Lyra, or say the things they didn’t have a chance to say.

Death, family, goodbyes, realistic drama


By: Maria Bergmann Hamming and Jeppe Bergmann Hamming

In a time before reason and order, before the forests were cut down, the lakes straightened and all of the soil farmed. In the shadows, in the corner of your eyes, beneath the earth we walked upon, dwelled something not human. Before the dawn of reason shredded the shadows of magic, it was the time of the Undergrounders. Magical creatures of the North that played, danced, and longed to be near humans.

Sometimes a young man or woman would venture into the forest on Midsummer’s Eve and catch the eyes of an undergrounder. They would be lured to the halls of the Mountain King, where they would forget time, love, loyalty and all that they left behind. There they would get lost for perhaps even hundreds of years before returning to a world changed.

This scenario is about Humans and Undergrounders, about luring and being lured, about losing yourself and remembering and about finding your way back home. And it’s about those things that bring you back home: Faith, Love & Hope.

In the scenario you play a night in the halls of the Mountain King, a night of seduction, ecstasy, memories, conflict and the possibility of returning back home, when dawn disturbs the magic of the underground.

Dance, folklore, love, seduction

Let the Sunshine In

By: Arne Handt

Let the Sunshine In is a black box larp with song & dance for 5-8 players. It tells the story of a group of hippies in the late ’60s or early ’70s and will touch upon topics such as friendship, spirituality, love, non-conformism, self-actualization and others, depending on the players decisions. Songs from that time, which are performed by the players in between played scenes (using full playback), will support the game and deepen the emotional experience.

The characters and relationships in this larp are built co-creatively by the players based on concepts provided by the designer. Since performing the songs is usually perceived as a challenged by some players, if not by most, there will be a dedicated pre-larp workshop to get attuned to that part of the larp, and to get comfortable improvising choreographies together in particular.

The pre-larp workshop will take up to 2.5 hours, while the actual roleplaying part will take about 90 minutes.

Friendship, hippies, dancing

Welcome to Hard Times

By: Karolina Soltys and David Owen

Welcome to Hard Times is a Nordic-style black-box larp about pioneer life in the American Midwest, based on the novel of the same name by E.L. Doctorow, with set design inspired by Dogville. It is a tale of human resilience and frailty, and the impossible dream of permanence. The players will tangibly participate in the cycle of creation and destruction of a small settlement, building it with symbolic props. In their doomed struggle to create a permanent home, the characters grow increasingly entwined. The story is told using various techniques: narration, naturalistic scenes, non-verbal physical play.

The larp can include audience members in an immersive way — they play anonymous settlers and can construct their own dwellings, which helps them build an emotional attachment to the story of the town they are a part of.

No knowledge of the novel is necessary.

“I told Molly we’d be ready for the Bad Man but we can never be ready. Nothing is ever buried, the earth rolls in its tracks, it never goes anywhere, it never changes, only the hope changes like morning and night, only the expectations rise and set. Why does there have to be promise before destruction?”

Community – home – ambition – cowardice


White Death

By: Nina Runa Essendrop and Simon Steen Hansen

A poetic, non-verbal larp that emphasizes physical expression. The players are guided through feelings like anger, frustration, sorrow, and fear – and the feelings of peace and closeness which follow the characters’ gentle deaths. Music by Tom Waits, Nick Cave and Johnny Cash sets the tone.

A group of pioneers once set out for the mountains with the aim of creating a new society, bringing only the absolute necessities, as well as their hope and dreams. While having the best intentions, the pioneers couldn’t succeed. Life in the mountains turned out to be hard and demanding. They had traveled too far, and couldn’t find their way back. One by one, the snow embraced them, giving them silence, peace and rest. Tranquility and light.

The genre is not realistic but rather using an abstract poetic approach. White Death is a scenario without words. This means all communication is done physically. The game is completely transparent and the focus is on the atmosphere rather than the outcome.

Non-verbal – Abstract – Physical