We are part of “Support Culture”

The Blueprint Masquerades is part of the “Support Culture” campaign from Migros! Whenever you buy something at Migros that’s over 20 CHF, collect Vereinsbons and scan the QR code to allocate them to us! The more Bons we get, the more money Migros will give us from their pot to support our production. It’s free for you, with a great benefit to us! 🎭🧡 You can collect and scan the Bons until 17 April.

You can find our Migros Support Culture page here!! Feel free to share this with your family, friends, neighbours, and so on…

2023 Production Announcement!!

The BPM is proud to announce the 2023 play: The Plot, like Gravy, Thickens by Billy St. John! The play’s subtitle promises it to be “A Murder Mystery/ Comedy with Audience Interaction, Great Storm Effects, Spiffy Costumes, and Lots of Other Good Stuff”. If that sounds exciting to you, hop over to our current production page, where you can find a plot summary as well as information about the performances!!

Now let us introduce ourselves:


Walter 1 / Edward Worthington – William Jones
Walter 2 / James McMillan – Guido Marinoni
Allegra – Ayşegül Barlas
Tony Blackwell – Aviv Shavit-Zepeda
Justine Worthington – Naomi Schenkel
Peggy Sue Brumley – Jay Dürig
Beatrice Worthington – Josephine Müller
Roy Phillips – Antony Brogli
Connie Phillips – Wilmari Claasen
Lawrence Tate – Alain Liechti
Debra Worthington – Jana Eberle
Edith – Selina Forrer
Hollister – Gian-Luca Kuoni
Mrs. Vickers – Janine Ochsenbein
Ina – Victoria Buchholz


Co-Directors – Eliza Eckhart
Alex Schulz
Assistant Directors – Robin Künzler
Maruja Ortega
Producer – Jay Dürig
Assistant Producers – Lara Giannini
Ren Schnüriger
Treasurer – Ladina Mauchle

Head of Stage – Noah Lang
Stage Crew – Lara Giannini
Chiara Longhi
Noemi Shavit-Zepeda
Aviv Shavit-Zepeda
Lighting Technician – Holly Werner

Co-Heads of Marketing – Sinja Bucher
Jenny Gasser
Photography – Letícia Peredo
Noemi Shavit-Zepeda
Videography – Emily Rushton
Social Media – Pascale Albrecht
Keyshav Mor
Anne Treinen
Graphic Design – Isabel Schmidt
Merch Design – Linda Lucius
Isabel Schmidt
Website – Lara Giannini

Head of Costumes – Wilmari Claasen
Costume Crew – Zoe Bischoff
Jana Eberle
Jenny Eiholzer
Max Korobeynikova
Gian-Luca Kuoni
Veronika Neumann
Noemi Shavit-Zepeda
Holly Werner

Head of Props – Lilith Frey
Props Crew – Varvara Lantukh
Linda Lucius
Holly Werner

Head of Music – Cédric Stüssi
Assistant Head of Music – Nico Wolf
Music Crew – Larissa Bison (Piano)
Kathrin Sauder (Violin)
Anne Treinen (Flute / Piccolo)
Nico Wolf (Guitar)
Linus Zwahlen (Saxophone)

We can’t wait to see you in spring!!

Q&A With the Directors

Last spring, Carmen and Isabel, our two co-writers and co-directors of The Forest attended a colloquium on the topic “Performing Shakespeare” together at the English Seminar. As this topic fit the BPM’s 2021 production and what Isabel and Carmen did with their adaption of Macbeth perfectly, one of their classmates, Philipp Makowski, conducted a little interview with them. They provide fascinating background info on what it means to adapt a play and how they did it! Read on if you want to know more:

«During the last session of our colloquium “Performing Shakespeare” taught by Dr Beatrice Montedoro, we invited two members of the Blueprint Masquerades (BPM), Carmen Aeschbacher and Isabel Schmidt, to talk about their current production, The Forest, which they co-wrote and are now co-directing. Furthermore, two students in the colloquium and also members of the BPM, Ladina Mauchle and Gian-Luca Kuoni, also were so kind to provide us with insights on the on-going production as actors and participants in the departments of costume and stage, respectively. The Forest is a modern adaptation of William Shakespeare’s Macbeth, which we discussed in the early part of our colloquium before moving on to the playtexts and theatre productions of The Tempest and A Midsummer Night’s Dream. We focused on how these plays can be read, staged and interpreted while they are translated from text on the page to image and performance on the stage, in theatre productions or even films. This helped us understand, see and interpret the plays in different and new ways. Therefore, we were particularly keen on reading a student adaptation of a play we discussed in class, which led us to this Q&A that Carmen and Isabel kindly provided us with. We started with general questions about being a director at BPM, then moved on to questions about the process of re-writing Macbeth and, finally, asked questions about the process of staging The Forest.

Q: How does one become a director of the student group BPM?
C: Since it is a student organisation, it happens with no specific process. However, we usually vote for directors at the GV, with a focus on members with experience in the BPM. It is, though, open to anyone who is interested!

Q: What does it mean to be a director?
C: The simple answer is, everything. Together with the producer it is the responsibility to put the play onto a stage. The fact that we co-directed this year made it easier, because there is a person to remind you of things you might forget.
I: A large part of it is focused on organising all departments and telling actors what to do.
C: Fortunately, we have very talented actors, who also come up with their own suggestions!

Q: To what degree is this a collaborative process, and how much do you stick to your own vision?
I: It is very collaborative. We had some visions for characters and such, but the departments also came up with their own ideas. As directors we then thought about combining these ideas and making sure that they would work together in a cohesive way.
C: We meet up regularly, before the rehearsals, with the respective head of each department to brainstorm together. Even when ideas are not compatible, we are, fortunately, able to talk it out and find a common ground.

Q: How did you pick Macbeth as the starting point of your creative process?
C: We [Isabel and I] spent a lot of time in February 2020 talking about Shakespeare in general. Also, Isabel was thinking about her potential bachelor thesis, in relation to ecocriticism and Shakespeare. Through this we found out that we had similar ideas about what we could do with Macbeth.
I: We thought it would be fun to write an adaptation of a Shakespeare play! We also thought that it would be interesting to rewrite a tragedy rather than a comedy and that there would be a lot we could do with Macbeth.

Q: How was the process of re-writing Macbeth?
C: A lot of time was spent on brainstorming and the concept and particularly thinking about what characters and storylines to keep, what happens when and what plot twists we would keep. The writing process then happened over the course of Summer 2020, so we could give the others in Blueprint Masquerades a preview to read before the voting.
I: Yes, it probably took around half a year, but it was great fun.

Q: How did you treat the original Shakespearian text in your adaptation?
C: We really went through the lines and discussed whether they would stay or go. We had our respective favourite scenes, where we wanted to remain as close to the source text as possible. The challenge then was to modernise the text to adapt it to our new setting.
I: The goals were to have fun with it and make it [the play] seem natural despite keeping a lot of the original text. Some scenes are, therefore, quite close to Macbeth, while others were completely cut, or new characters were even added. We mostly wanted it to make sense as its own play, so people who do not know Macbeth can also enjoy it.

Q: One of the biggest changes from the original play is that you clearly portray Duncan, the owner of Duncan Chem, a company that produces chemical substances, as a villain. What inspired you to stage him this way?
I: We wanted to give Lady Macbeth more of a personality and motif for Duncan’s murder. In Macbeth she comes across as a villain and we wanted to change that. In our play, we show how Duncan has harassed Lady Macbeth, which emphasises her motivation for murdering him. Therefore, she becomes more of a morally grey person, with whom it is easier to sympathise, at least in the beginning.

Q: How did you re-interpret the three witches, the weird sisters, in The Forest?
C: They were more challenging as characters, because we wanted to give them distinctive personalities. We did not want them to explicitly be witches, particularly in the supernatural sense, but keep the mystery that surrounds them. They are probably the most revised parts of our play, because we wanted to keep the prophecy in part, but had to adapt it to our modern vision.
I: Similar to the other female characters, we wanted to give them more agency, more character and more motivations. Hecate, who only has a small part in Macbeth, receives her own distinct storyline in The Forest. That is how we treated the witches as well. We gave them a clear motivation for pushing Macbeth to kill Duncan.

Q: What was the effect of giving the characters first names, such as Celia and Aliena for the weird sisters?
C: We wanted to have the characters remain recognisable, but also make them their own, actual characters. We have fewer characters with more distinct names and storylines than Shakespeare had. With the weird sisters, we wanted their original character name to still be clearly recognisable but modernised it and normalised it by turning Weird into their surname. This was also inspired by Terry Pratchett’s The Weird Sisters.
I: The names Aliena and Celia, names of two of the weird sisters, were taken from Shakespeare’s play As You Like It. In that play, Celia disguised herself as Aliena, the same character therefore playing two. We thought it would be interesting to use these names for the Weird sisters, as they are so strongly bound together, to the point that they are almost indistinguishable.

Q: What inspired you to change Lady Macbeth’s role in the story in your re-writing?
C: I was quite unhappy with the treatment of Lady Macbeth in Macbeth, particularly towards the end when she simply disappears. We, therefore, sought to create more of a moral decay, a progression from good to bad, for her.
I: Her struggles and needs to attain her goals, while being a woman, were present in Macbeth already and we translated it to our modern interpretation, where we gave her more layers.
C: Similar to the context of the Shakespearian society, Lady Macbeth seeks to achieve her goals through her husband, and we decided to keep that as well. That is why we also paraphrased one of her monologues, to keep it in there.

Q: Why did you decide to set The Forest in modern time?
C: That was strongly motivated by the language barrier, because we wanted to make the play accessible to people outside of the English Seminar as well. So, instead of translating it, we decided to have fun with it and re-write that.

Q: What inspired the setting in the forest?
I: This setting was definitely inspired by the ecocritical aspect. In Shakespeare’s plays the forest seems to function as a transitional, magical space, where people go and disguise themselves. Particularly in comedies, characters experience this surreal, magical experience in the forest, which also changes them. We also wanted to keep that theme of the forest turning against the Macbeths, which is part of the witches’ prophecy.
C: It allowed us to focus on the psychological side of the characters, while removing them from their corporate surrounding. This allows us to play with the idea of isolating them within the forest and having them in a space with the weird sisters.
I: It really allowed us to focus on these characters and their experience without external intervention.
C: This can be compared to the setting of Lord of the Flies, where you also have this secluded, natural setting on the island, a sort of heterotopia, similar to our forest. This allows the reader, and audience, to focus on the power structures of the characters.

Q: Ladina and Gian-Luca, what were your roles in the process of staging The Forest?
L: I play Hecate, but I am also part of the costume department, and I am in charge of props too. The props, in particular, meant for me to make knives to use in the play. I got to collaborate with Carmen, specifically, to establish my character and how to play it.
G-L: At first, I was solely part of the stage crew. Halfway through the production process I stepped in to play Malcolm too. I went on a hike in nature to gather inspiration for the setting of the forest, as part of the stage crew. This helped to figure out how to develop that setting, despite limited resources. This also included the developing of how to incorporate the rocks and tent, as well as other elements of the setting.

Q: What is the function of Hecate’s prologue?
C: It functions as a welcome speech from Hecate, as a forest goddess and manager of the forest resort. This is similar to Shakespeare, who liked to incorporate prologues and epilogues by characters, who sort of explain what happened. Thereby, we wanted to set the scene with this prologue by Hecate.
I: Hecate, for me, is a character between the world of the audience and that of the play. The prologue, thus, introduces the audience into the world of the play, on a meta-level so to say.
L: I agree with this, as it provides a bridging of the business and supernatural sides of the play. Hecate is coded as supernatural in The Forest, even though this is not evoked on an explicit level but rather through use of costume and separation from the other characters.

Q: How did you use music to convey specific moods?
C: Our music composer, Andrin, wrote original music for this play. In collaboration with him, we were able to develop pieces that specifically convey the mood of a moment. I, personally, insisted on having a string player, because I think it works well in these tragic moments. The music also helps convey the supernatural elements of the play.

Q: We also noticed that the Weïrd sisters all wore a red cape: what kind of symbolism were you trying to convey with these costumes?
I: The head of costume came up with the idea that the the sisters should look like poisonous berries, since they have a poisonous influence on the other characters in the play. The colour red, thus, symbolises the allure and danger that they represent.
C: This colour scheme also enables the audience to group these characters in a distinctive way.

Q: Finally, why did you decide to have Rose Macduff and Emilia Lennox played by female actors?
C: We wanted their relationship to fuel the conflict between the Weird sisters. This produces tension later on in the play.
I: Rose Macduff is a character torn between the company, her sisters and her love interest, Emilia. As they are both in secretary roles, they are also juxtaposed with the powerful men on the level of gender. Within the play, the women then subvert these power structures.»

Thanks to Philipp for conducting this Q&A!


As you might have already seen, this past week we finally revealed what we have been working on over the past few months: BPM MERCH!

With the help of different members of the group, we have created stickers, a tote bag, a mug, and a pin. Because we haven’t been able to do a cake sale in three semesters now, this is a cool new way for us to help finance our productions. Thus, if you would like to support the BPM and get some awesome memorabilia in return, click here to have a closer look at the items and (pre)order what you desire! You can then come pick up and pay for your items at one of our performances in October. If you can’t come to the performances, we’ll figure out a different solution together, just let us know. Please note that your order is binding.

Preorders for this batch are open until Thursday, 30 September 2021, 24:00.

Exciting Announcements!

Welcome to our snazzy new website! Over the last few days, we have given this space a facelift and we hope you like it as much as we do when you have a little browse-around. Thanks to Noah for all his hard work on this! 🙂 As you may have noticed, it is not just the website that is different, but our logo has changed as well! Last spring, we decided to give it a fresh new look and now the time has finally come to reveal it to the public:

Thanks to Isabel Schmidt for designing the new logo!

Taadaa, here it is!

This redesign-reveal comes hand in hand with another very exciting announcement: We finally have performance dates for The Forest! After a long long time of being stuck in limbo, a 4 month break between rehearsals and a ton of uncertainty in regard to if we’ll even get to perform this play live at all, we are happy to announce that we’ll have five performances in October at the Theatersaal at Campus Irchel! The exact dates are the following:

22. October 2021 at 19:00 (Friday)
23. October 2021 at 19:00 (Saturday)
24. October 2021 at 16:00 (Sunday)
27. October 2021 at 19:00 (Wednesday)
28. October 2021 at 19:00 (Thursday)

Ticket reservations are now open, so go ahead and reserve your tickets here! Please be aware that you will be required to present a valid Covid Certificate and ID upon entry to the performance.

If you’d like to know some more about The Forest, visit the Current Production page and subscribe to our Newsletter!

The poster is designed by Nadia!


Long time no see! Over the past few months, the BPM has of course also been quite affected by current Covid-19 regulations. We were forced to cease meeting in person and continued with doing Zoom rehearsals, just like last spring. As regulations were extended into February, we are unable to do our rehearsal week, which would have taken place this week. Because of this, and also because it is still quite unclear when we will be able to meet in person again, we have decided to postpone our April performances indefinitely.

We’ll keep rehearsing and working on the play and keep you updated on any future developments!

Make sure to follow us on Instagram (@blueprintmasquerades) to get a glimpse at what is going on behind the stage.

2021 Play and Cast & Crew

We’re proud to announce the 2021 play, which is a modern adaption of Shakespeare’s Macbeth, written by two of our own: The Forest!

Over the past few months, Isabel and Carmen have been working tirelessly on their script and now we’re finally holding it in our hands, ready to dive into rehearsals, music composition, set construction and costume sewing! Here’s a first glimpse at the plot of the play:

“Welcome to The Forest, the most innovative adventure resort in the world!” With that, the employees of Duncan Chem, a company that produces poisonous chemicals, are welcomed on their team-building retreat in the wilderness by park manager Hecate Thorne. Expecting nothing but a light-hearted trip to nature with some rather annoying co-workers, the Duncan Chem crew is soon confronted with a tragic turn of events when Richard Duncan, proud owner of the company, is murdered in his sleep.

Are you as excited as we are? Performances will be in April next year!

And now, let us (re)introduce ourselves: This is the crew & cast of The Forest!


Alexander Macbeth – William Jones
Kate Macbeth – Jelena Taylor Botacio
Rose Macduff – Eliza Eckhart
Claudio Banquo – Fernando Nunes Borba
Aliena Weïrd – Judith Dürig
Celia Weïrd – Pascale Albrecht
Richard Duncan – Alexander Schulz
Emilia Lennox – Naomi Schenkel
Malcolm Duncan – Samuel Anzalone
Nick Porter – Jana Eberle
Hecate – Ladina Mauchle


Co-Directors – Isabel Schmidt &
Carmen Aeschbacher
Directors’ Assistant – Nima Wermelinger
Producer – Pernille Meier
Producer’s Assistants – Isabel Adarraga &
Jeannine Friedrich
Treasurer – Andrin Albrecht
Treasurer’s Assistant – Ladina Mauchle
Head of Stage – Melina Jobbins
Stage Crew – Gian-Luca Kuoni
Lorena Schnüringer
Anina Widrig &
Laura Schmid
Heads of Marketing – Pascale Albrecht &
Isabelle Koch
Photography – Leticia Peredo
Videography – Sinja Bucher
Graphic Design – Nadia Hofmann
Head of Costume – Lux Katharina Züst
Costume Crew – Wilmari Claasen
Johanna Russ
Ladina Mauchle &
Vera Loistl
Head of Music – Andrin Albrecht
Music Assistant – Cédric Stüssi
Band – Vera Bernhard
Isabel Adarraga &
Julia Bogdan
General Assistant
– Hannah Künzler

Meet & Greet 2020

Are you curious about the BPM? Do you want to audition or join our crew? Are you a theater-fanatic but don’t have a clue what you want?

If you answered “yes” to any of these questions, you should definitely come to our annual meet & greet on Wednesday, 23 September, at 7.30pm! In the meeting, you get the chance to get to know the BPM and its current members a bit more, to learn how everything works and how things are structured, and to chat to the different department heads so you can figure out if and what part of the group you want to join!

The current situation won’t allow us to do it in person, so we have decided to hold the meet & greet over Zoom. We will first relay some general info and then split up into breakout rooms so you can talk to individual members of the different departments. The meeting ID is 982 0408 6126 and the password is 573904. Here’s the direct link: https://uzh.zoom.us/j/98204086126…

Generally, we are looking for:
• Actors
• A Director’s Assistant
• Stage Designers
• A costume Assistant
• A Photographer and a videographer
• Musicians
• A Producer’s Assistant
• Light & sound technicians
• A Graphic Designer
• Cake bakers & bar helpers

As always, anyone from UZH or ETH is welcome. No theater experience required! We’re looking forward to meeting you! 🙂