**Documentary Explores Dark Past of Pennhurst State School and its Transformation into Haunted Attraction**
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The Pennhurst State School and Hospital, an institution known for its troubling history of abuse, operated in Pennsylvania from 1908 until its closure in 1987. Established as the Eastern State Institution for the Feeble Minded and Epileptic, it would later become infamous for the deplorable conditions and mistreatment of its residents. Today, the site has been repurposed into a haunted attraction called Pennhurst Asylum, raising concerns about how this new identity reflects its dark past.
Historically, Pennhurst has been a site of immense suffering. Many former residents experienced severe abuse, including dental extractions as a form of punishment and allegations of rape. These revelations highlight the institution’s grim legacy, leading to its closure in 1987 following a judge’s ruling that the conditions were unconstitutional. At the time of its closure, approximately 1,156 individuals were still living there, many of whom later reported emotional and physical abuse.
With its current operations as a haunted attraction, the site has stirred controversy. Before its opening in 2010, advocacy group Pennhurst Memorial and Preservation Alliance (PMPA) voiced concerns through a petition that accused the attraction of degrading and demeaning individuals with disabilities. In their petition, PMPA argued that the haunted attraction exploited the historical struggles faced by those once housed in Pennhurst, undermining efforts to create a place of remembrance and reflection.
In 2017, amid ongoing criticism, Pennhurst, LLC underwent a leadership change. The new management sought to address these concerns by partnering with PMPA, handing creative control of the attraction over to a group of performers with disabilities. This partnership aims to shift the narrative around the attraction while promoting empowerment and inclusivity.
The recent documentary, “The Haunting of Pennhurst,” directed by Nathan Stenberg, Mike Attie, and Katarina Poljak, premiered at the Tribeca Festival. It offers insight into the experiences of the performers and the ongoing operations of the attraction. The film includes archival material and personal accounts that lend a voice to those who once endured life within Pennhurst’s walls.
Among the performers featured, Bri Nixon recounts her experiences in psychiatric facilities and reflects on the lingering sorrow tied to the location. Similarly, Dan Cody, who identifies as neurodivergent, describes finding a sense of community in his work at Pennhurst. “It’s very much an island of misfit toys here,” he notes, illustrating the camaraderie fostered among the performers.
Joey Vanderloop, a performer who uses they/them pronouns, shares their experiences of being treated violently by others, stating, “I have been shown again and again that people like me are considered to be monsters.” Vanderloop expresses a unique empowerment in embracing this perception, suggesting a transformation of their identity into something bold and assertive.
Despite the sense of empowerment derived from their artistic expression, some performers, like Autumn Werner, grapple with the complexity of their roles at the historic site. Werner, who manages history tours and collects artifacts, expresses concern over the dignity of past residents. “There’s dignity that these folks who lived here should still have,” she states, emphasising the importance of acknowledging the history behind the attraction amidst the popularity of its haunted appeal.
In the documentary, Werner explains the troubling treatment methods used at Pennhurst, including behavioural management techniques that involved pulling teeth or employing chemical and physical restraints. Harrowing archival reports detail incidents of violence and neglect, further underscoring the institution’s legacy of abuse. These accounts serve not only to inform visitors but also to honour the memories of those who suffered.
The PMPA estimates that over the institution’s nearly 80 years of operation, around 10,600 individuals resided at Pennhurst. A follow-up study conducted after the institution’s closure revealed that most former patients felt they were better off in their new homes, indicating the deeply-rooted issues prevalent within the facility.
“The Haunting of Pennhurst” is set to screen at the Tribeca Film Festival on June 7 and June 9, providing an opportunity for audiences to engage with the complex history of the site. With its haunted attraction now juxtaposed against a backdrop of significant trauma and abuse, the film aims to provoke critical discussions about the treatment of individuals with disabilities and the ethics of representing such a legacy.
As conversations continue around institutions like Pennhurst, the aim is to find a balance between remembrance and education, ensuring that the past remains a crucial part of the narrative, rather than allowing it to be overshadowed by modern reinterpretations. For those struggling with mental health or emotional distress, help is always available through various support services, encouraging a broader understanding of the issues faced by individuals within society.