A CurtainUp Los
Hollywood Hell House
By Jana J. Monji
Hollywood Hell House at the Steve Allen Theater in Hollywood is
part parody and part carny show. Being religious isn't particularly hip in Hollywood
or most of liberal California. For a short 40-minutes and $10, audience members
walk through various scenes meant to scare them out of temptation's way, but
the result is usually laughter.
Hell House is
by itself a fundamentalist Christian phenomena. George Ratliff's 2001 documentary, Hell
House, centered on
the Cedar Hills, Texas annual production. Its very first permutation may have
been the ScareMare in
1972 Lynchburg, Virginia which was sponsored by the Liberty University, founded
by Reverend Jerry Falwell, leader of the Moral Majority. But Falwell is not directly
involved in the Hell House propagation.
Instead, Keenan Roberts, an Assembly of God minister in Bloomfield, Colorado,
began making and selling kits for $200 in 1995.
To put on this latest Hollywood version Maggie Rowe, who co-directs with Jill
Soloway, fibbed a bit to procure a kit. Roberts can take comfort in Rowe and
Soloway's faithful adherence to the script.
As with any good haunted house, you are led through some scary scenes, in this
case by an impatient devil (Demon tour guide played by Jimmy Doyle). First, we
learn that reading Goosebumps and graduating to Harry Potter eventually led to
satanic devil worship and human sacrifice. It seems funny that Buffy and Angel
don't get mentioned. It's also odd that the worshippers (Alisa Surmont, Laura
Summer and Rebecca Davis) and sacrifice (Paget Brewster as Tracy) are all female,
the worshipping threesome get to wear pretty cool goth garb.
Next on the theatrical agenda, we are exposed to a young girl's partial birth
abortion as we are told that abortion is s Satan's way of keeping the population
of preachers down. We never hear about the boy who is nvolved in this young unmarried
woman's (Daisey Gardner as Chrissy) careless Camaro sexual adventure. Likewise,
in the rape gangbang scenes(the rape is only suggested and there is no nudity
or kissing or what would pass as heavy petting), the gang (Jim Kohn, Ben Hoffman
and Eric Giancoli) that drugs Jessica, the victim (Becky Thyre) aren't subject
to critical admonition either. Instead, we examine the victim who decides to
commit suicide. You won't be surprised here because that's the comic strip featured
on the Web site.
The other sinners Roberts focuses on are Steve (Kevin Pass), a gay man dying
of AIDS (and the viral infection is apparently part of God's will), and a young
man who decides to shoot his classmates and teacher and finally himself.
After a journey through hell (a worthy grotesque which was a credit to make-up
and costume designers), we do get an audience with one of the rotating Satans.
Bill Maher has played this part, but you never know who you might get since the
full cast of 200 rotates every Saturday. For Satan (David Cross on Sept. 18),
whose speech is especially long, the cue cards are plastered on the wall.
Luckily, we are saved from Satan's monologue by a blonde, blue-eyed angel (Melanie
Truhett) who leads us to Jesus (Ron Zimmerman), smiling, even as he's pinned
to a cross. His speech is predominately voiceover.
Being saved, we are now given a choice between hell and donut holes. In a land
ruled by low carb diets this might seem a hard choice. But we are soon led to
a room where we can imbibe red punch and donut holes as another group of actors
(Loretta Fox Bill Rukoski, Paige Bernhardt, Adam Wodka, Barbara Romen, Julie
Cain, Stephen Rowan Katie Schwartz, Josh Trank and Morgan Krantz), all with bad
hair and dressed in nerdy clothes, bounce around and sing Christian songs. You
can also "pin a sin" on Jesus posting board, buy a t-shirt or visit the concessions.
There's something uneasily borderline in laughing at abortion or gang rape yet
one notices how focused the house is on women and their sexual behavior. Guys
just shouldn't have sex with other guys or start shooting up people. Yet, a walk
through haunted Hollywood Hell House brings benefits vua its many professional
or semi-professional performers and good special effects.
The overall experience is like a visit to a carny show. Instead of seeing the
freaks you've never really wanted to meet, you are exposed to the strange species
of Christian fundamentalists. As the production makes clear via large posters
in the waiting area, no disrespect to Christianity is intended and that the only
targets are Christian fundamentalists.
This is not by any means good theater but a curious representation of popular
theater as practiced by ordinary people. What it does is to point a finger at
the ideological division that exists in America today.