ScareHouse: How a Famously In-Your-Face Haunted House Is Using the Pandemic to Its Advantage
During its first 20 years, every face paint-caked zombie or masked ghoul working at Pittsburgh's ScareHouse was taught one maxim: Get into people’s personal space.
"We told them, 'Don’t touch anyone, but get as close as you can,'" Scott Simmons, founder and creative director of the longtime haunted attraction, tells Mental Floss.
Things are different this year. Like so much else, that rule has been canceled due to coronavirus. Halloween is just the latest annual tradition to require a readjustment because of the current pandemic. Health officials are discouraging costume parties and people are buying candy chutes for trick-or-treaters. Haunts—the industry term for the mazes of frightful sights and sounds that crop up every October—have faced a choice familiar to event organizers: skip a season or adjust.
To Scare or Not to Scare
After weighing the options, ScareHouse (a particularly high-production venture that has gotten nods from the likes of Oscar-winning horror master Guillermo del Toro) decided to adjust—and even took this unexpected change of plans as a unique opportunity to create a haunt built specifically with COVID-19 precautions in mind. Due to limited parking, Simmons abandoned the former Elks Lodge that ScareHouse has called home since 2007. In March, he signed a lease for a new location, a former H&M store in a half-empty shopping mall in Tarentum, Pennsylvania, located about 20 miles northeast of Pittsburgh.
Simmons and his collaborators were in the midst of planning their labyrinth of terror when they saw Plexiglas go up in grocery stores and social distancing become the norm. With a wide open space as a blank canvas, they realized they could incorporate elements of COVID-19 restrictions into ScareHouse's design.
Though the actors can no longer invade a visitor's personal space—they have to stay six feet away and wear a face mask at all times (as do customers)—there are plenty of other tools in the haunt master's toolbox.
This year's iteration of ScareHouse relies on techniques that are either very advanced or completely basic. "It’s light sensors and animatronics or it’s characters pounding on glass and people moving around wearing something glow-in-the-dark and some stuff I haven’t seen since I was 15," Simmons says.
Back to Basics
ScareHouse's first segment is a demon-possessed family home. Actors play supernatural specters, the now-crazed residents, or urban explorers and nuns who became trapped after they entered the home to either document or exorcise it. Built into each room is a reason for the actor to be masked and distant.
In a children’s bedroom, an actor in a teddy bear outfit leaps up from a stack of stuffed animals, which creates a barrier from each passing group. A demented housewife character appears in a kitchen covered in (plastic) guts and spoiled food. She stays in a corner behind an open refrigerator door and a manic smile is painted onto her facemask. When passing through the darkened bathroom stage, patrons see a mirror that’s actually a replication of the bathroom stage behind Plexiglas. An actor can then startle them and pound against it.
In a bedroom, a woman writhes in a bed (in tribute to The Exorcist); a pair of fake legs gives the appearance that her body has been contorted. The bed is covered in plastic resembling bed curtains. ScareHouse has provided the actor with recorded screams and growls she can summon with a button, so she doesn’t have to release her own spit into the air.
This year, the staff has been reduced from the 200 usually employed seasonally to just 90 people. Simmons said he wanted fewer actors trading costumes and spending time in make-up chairs.
Technology and props have taken over some of the work of frightening teenagers and other scare-seekers.
As patrons enter the attraction, they are given flashlights and come into a darkened parlor, decked out in antique furniture. The flashlights are another adaptation; they give a way to explore the room without touching anything. And they interact with photon sensors to create some eerie effects.
In the parlor, a motion detector causes a piano top to rattle but once a patron points their flashlight at it, a photon sensor causes it to stop. The same trick works on a Ouija board sitting on a table. A motion detection signal causes the planchette to vibrate. A photon detector causes it to stop at the touch of a beam of light. This creates the impression that a poltergeist is responding to patrons’ actions.
The ScareHouse has also made use of animatronics and puppets. A werewolf and a set of dinosaur jaws pop out of darkened spaces. An animatronic woman removes her face to reveal a mesh of blood at the signal of a motion detector.
Another segment of ScareHouse is a “fever dream” employing a freakish mesh of body parts twisted onto the walls and glass tank of smoke and light, in which an actor plays some kind of creature (exactly what it is is left up to the patron's imagination). “We don’t even need a costume,” operations manager Maryane Kimbler tells Mental Floss. “You can’t see them. They create these fantastic motions and shapes.”
Perhaps the most ambitious scene is the “courtyard” of the possessed house. Patrons walk through a backyard scattered with skeletal bits and see a character called the Specter of the Forest, dressed in branches and grass. He rings a bell and tells them to come forward. “But he’s a total distraction,” Kimbler admits.
As they walk toward him, a terrifying animatronic called the “nun lunger” pops out of doorway. She’s just a doll in a nun’s habit and gown with a face that looks like it was borrowed from Marilyn Manson circa 1993, but she's moving on a track and rushes 12 feet across the room under flashing strobe lights.
Once again, concocted terror belies actual safety considerations. In years past, the nun may have been played by an actor, commissioned to come close and scream and snarl. None of that can be done with ScareHouse's careful social distancing measures in place. Instead, the actor—that Specter of the Forrest—is given a secondary role in the thrill. The idea is that, startled by the sudden sprint of this decay-faced nun, they run past him, as he stays behind a fence-like barrier.
In 2020, it’s the safest way to be terrified.