CREEP and Delusion are two of Southern California’s most popular immersive and theatrical haunted attractions, often drawing sold out crowds during the Halloween season. This year, both CREEP and Delusion returned to Los Angeles with new, interactive stories of the macabre, the diabolical, and the corrupt. Both are outstanding productions, featuring well- detailed sets, exciting special effects, intriguing narratives, and exceptional actors who work tirelessly to entertain the audience—and perhaps, even scare them half to death (both events require guests to sign a waiver before entering. CREEP, in particular, makes the act of providing your signature wickedly fun).


CREEP establishes its David-Lynch-inspired nightmare right from the very beginning (even waiting in line brings its own kind of sinister terror). Audiences are invited to enter the deranged world of the infamous Erebus Burwyck, an experimental artist who, in 1974, disappeared along with his cast after they performed a transgressive art show with deeply philosophical and aberrant themes. From this point forward, CREEP guides groups of 8 through Burwyck’s bizarre and at times psychosexual vision. Not for the faint of heart, the production requires that audience members dive headlong into the action, and the results are at once surreal, frightening, and playfully perverse. The actors handle these strange scenes with talent and finesse, often plucking members from the group and subjecting them to their own individual scenes of horror and mayhem (at one point, this writer was “stolen” away from the audience and locked in a confined space, taunted for what seemed like several minutes by a masked man before being set free). Along with scenes involving total darkness, mild sensory deprivation, eerie props, and other creepy set-pieces, CREEP employs menacing music and scratchy audio recordings to heighten the tension of the experience. Credit must go to the talented team of actors (affectionately known as “creeps”) who embrace their roles to the hilt while maintaining the safety and integrity of the production. While most would classify CREEP as “extreme,” the event was in no way reckless or cruel to its guests. Despite a somewhat lackluster ending that doesn’t quite link back to the narrative established at the start, CREEP is well worth your time. In only its second year, the show has impressed once again, and its future looks morbidly bright.


Delusion is a fairly long-running interactive play in Los Angeles, housed in an enormous, Gothic structure overrun with unusual characters and Hollywood-caliber special effects. This year’s production, titled “The Crimson Queen,” tells a twisted (though arguably tame) tale of hungry vampires, family betrayal, and parental strife. Audience members are encouraged to become actively involved in the narrative, searching for clues throughout the decaying house, communicating with the characters, and helping to advance the plot both individually and collectively. Delusion takes great advantage of its broad space–including creaking staircases, darkened hallways and closets, secret passageways, and mysterious attics and basements–and every scene is marked by exquisite details and spirited performances by the actors. Most incredible about this production are the effects, which unfold mere inches from the audience. There are a few truly breathtaking moments that will thrill anyone who attends. If CREEP is a debauched and noir-styled descent into a madman’s psychosis, Delusion is its fantastical, poetic, story-driven counterpart. Delusion is also enhanced by lavish costumes and a stunning cinematic conclusion as “The Crimson Queen” asks its audience to become characters in a narrative that twists and turns as the play spans its 50 to 55-minute running time. Audiences who fully embrace their role in the journey and allow the actors to have creative control will reap the benefits of what has now become a genuine Halloween tradition in Southern California. “The Crimson Queen” doesn’t always work–the scares and script are both limited–but it remains an exciting piece of experimental theater nonetheless.

Tickets and more information for CREEP are available here; for Delusion, go here. Both are stellar achievements in the rising trend of interactive horror theater.

Josh Hancock is the author of two epistolary horror novels, The Girls of October (2015) and The Devil and My Daughter (2016), both published by Burning Bulb Publishing. For reviews, book trailers, and convention appearances, please visit


  1. I blog often and I truly thank you for your content.
    Your article has truly peaked my interest.
    I’m going to bookmark your website and keep checking for new details about once per
    week. I opted in for your Feed as well.

  2. My programmer is trying to convince me to move to .net from PHP.
    I have always disliked the idea because of the expenses.
    But he’s tryiong none the less. I’ve been using WordPress on several websites for about a year and am concerned
    about switching to another platform. I have heard
    great things about Is there a
    way I can import all my wordpress posts into it? Any kind of help
    would be really appreciated!

  3. Its like you read my mind! You appear to know so much about this, like
    you wrote the book in it or something. I think that you could do with some pics to drive the
    message home a bit, but instead of that, this is excellent blog.
    An excellent read. I’ll certainly be back.

  4. Attractive section of content. I just stumbled upon your site and in accession capital to assert that I acquire in fact enjoyed account your
    blog posts. Anyway I’ll be subscribing to your augment and even I achievement you access consistently fast.

  5. It’s a shame you don’t have a donate button! I’d without a doubt donate to this excellent blog!
    I guess for now i’ll settle for bookmarking and adding your RSS
    feed to my Google account. I look forward to fresh updates and
    will talk about this blog with my Facebook group.
    Chat soon!

Comments are closed.