A BEAUTIFUL NIGHTMARE IN
A HOUSE THAT BLEEDS ART

As a fan of the horror genre in every medium, how could I resist the chance to review something as delightfully titled as House of the Exquisite Corpse. That said, given my predilection—some would say, obsession—for avoiding all information about a show prior to viewing it, I arrived at the Merle Reskin Space at Steppenwolf expecting a standard issue play, albeit one with ghouls, ghosties, goblins or similar. I’ve never been so glad to be wrong.

Miracles: Quinn Kempe & Casey Doe, Creators; Alexander Ferguson, Puppeteer

Miracles: Quinn Kempe & Casey Doe, Creators; Camille Mitchell, Puppeteer

Stepping into the lobby a bit early, and after being apprised as to what was to come, I was directed to the back bar to kill some time with a delicious specialty cocktail, served in a blood bag, natch—no boring old highball glasses here. Soon, my blood group (heh!) was called, and along with nine other people, I was led past a curtain into a house of horrors.

Transformation: Emilie Wingate & Saskia Bakker, Creators; Leah Lara, Puppeteer

House of the Exquisite Corpse is the fifth(!) iteration of a puppetry-based haunted house created by the Rough House Puppet Arts company of artists (how am I only just hearing about this? I denounce myself!). Rather than focusing on schlock and jump-scares, the audience visits six rooms, each with a different theme, and representing a different type of horror scenario. The overarching theme this year is Blood and Puppets with the six rooms titled, “Blood and …”; in order: Miracles, Transformation, Ruin, Memory, Letting, and Corruption.

Ruin Creators: Vim Hile & Justin D'Acci, Creators; Justin D'Acci, Puppeteer

The audience files around each room, dons a pair of headphones, and peers in through slits, cracks, or holes in the walls, adding an intriguing layer of voyeurism to the experience. I wish more had been done with that aspect. I was genuinely creeped out when a movement beyond the performers in one of the rooms caught my attention—before I realized it was the eye of another audience member peeking through directly across from me. That fleeting moment turned the voyeuristic setup into something more unsettling, almost making patrons complicit in the horrors within. It’s a brilliant touch.

Audience View of Vim Hile
(Pei-Yu Hung & Melissa Schlessinger, Scenic Design;
Quinn Chisenhall & Brenden Marble, Lighting)

As you move through the space—at one point wending your way through entrails (they’re knitted; I touched them to confirm; I don’t know if it was frowned upon, but I couldn’t help myself—they’re that cool)—the structure of the individual stories changes. The narratives start out straightforward, but as you move from room to room, they begin to break down, slipping further into abstraction. “Blood and Memory” was a particularly unsettling room for me, its expressionistic imagery burrowing deep into my mind.

 Memory: Chih-Jou Cheng & Charlie Malave, Creators; Tia Pinson, Puppeteer

This is a very difficult show to review, because discussing the details and the artistry involved would rob future audiences of the joy of discovery. What struck me most was how distinct the personality of each room was. I was fascinated by how the show could feel so thematically unified, even as each space bore such strong individual fingerprints.

Letting: Nina D'Angier & Madigan Burke, Creators; Amandatron 5000, Puppeteer

Co-directors Felix Mayes and Corey Smith were able to clarify the process for me after the show. The artists for each room were given the theme and allowed to let their imaginations run free. As the scenes came together, the directors shaped them to fit the theme. This is a truly collaborative production.

Corruption: Pablo Monterrubio & Fletcher Pierson, Creators; Lindsey Ball, Puppeteer

I’d love to list all the creators and performers here, but there are simply too many talents involved—so I’ll just say they should all be proud of what they’ve accomplished. The puppets are gorgeously grotesque and creepy, and in two rooms, they’re jaw-droppingly stunning works of art and ambition. The performers are fluid and graceful, imbuing the puppets with their own distinct personalities.

Corruption: Pablo Monterrubio & Fletcher Pierson, Creators; Lindsey Ball, Puppeteer

photos by Yvette Marie Dostatni

House of the Exquisite Corpse V: Blood & Puppets
Rough House Puppet Arts
Steppenwolf Theatre’s Merle Reskin Space, 1624 N. Halsted
Thurs-Sat with entries from 7-9:30
ends on November 1, 2025
for tickets ($21-$46) and entry times, visit Rough House