Volunteers prepare Haunted Fortress for autumn scares

Greg Arent of Clinton Corners tours Stanford’s Haunted Fortress, inspecting the attraction for needed maintenance and upkeep.
Photo by Brian Hess


Greg Arent of Clinton Corners tours Stanford’s Haunted Fortress, inspecting the attraction for needed maintenance and upkeep.
STANFORDVILLE — Throughout August and September, in the woods off Creamery Road in Stanfordville, volunteers are needed to cut back overgrowth, repair sets, and prepare the Haunted Fortress for its October opening.
Greg Arent, a Clinton Corners resident who serves as the leader of the haunted attraction’s volunteers, is spending weekends in the latter half of the summer prepping for the coming fall. Volunteers are encouraged to join through August and September on Sundays from 10 a.m. to 3 p.m.
In the summer, Stanfordville’s Haunted Fortress nearly disappears into the landscape. There are no lights, no actors, no sounds aside from birds and insects. Pathways vanish behind trees and structures sag under vines. What will become a carefully orchestrated maze of fear feels, instead, like something abandoned.
“We let Mother Nature take care of everything,” Arent said, gesturing toward the overgrowth. There is no mowing, weeding, or pruning in the summer. “By October this will all be dead.”
As he steps onto the swamp walk — the winding path visitors take before entering the Fortress — it’s quiet enough to hear his footsteps.
Arent, the head of operations for the Haunted Fortress, brings a background in set-building to the role. “I know some people don’t love Halloween,” he said with a shrug. “But to us, it’s just different.”
The Fortress unfolds as a series of spaces stitched together along a winding path — houses, yards, tunnels, and rooms that shift in theme but share the same handmade, slightly off-kilter feel. In October, visitors move through it piece by piece. In summer, it reads more like a landscape of remnants.
And, at the beginning of the tour, sits the pirate ship — one of the last structures built by Peter Wing.
Wing, who died in 2014, created the Haunted Fortress, originally called Frankenstein’s Fortress, in Millbrook in the 1990s before eventually moving it to Stanford. His vision, Arent understands, was less about jump scares and more about atmosphere — “the psychological spooky thing.”
Arent never met Wing, but the Fortress is still full of his presence.
“One of my favorite things Pete Wing did is reclaim and reuse material,” Arent said. Much of what stands here was not bought new, but salvaged and repurposed. It’s a philosophy that continues. “Guys who work at dumps set things aside for me,” Arent said. The Fortress is not polished. It resists symmetry. “There are no straight lines or right angles,” Arent said.
In October, that work becomes visible.
On the best nights, the Fortress runs with 50 or more volunteer actors. There is no audition process; roles — zombies, witches, ghouls, vampires — are assigned. Esther Evans, known locally as the “queen of costumes,” outfits actors with pieces she designs or refurbishes.
Funding comes through the town’s recreation department, but the operation is entirely volunteer-driven. In August and September, volunteers meet on Sundays — workdays dedicated to maintenance, repair, and small-scale construction. The tasks range from the mundane to the complex: roofing, landscaping, rewiring lights, repairing props.
“We definitely need more help,” Arent said. “We’re always looking for volunteers with carpentry skills. But also just whatever people are interested in or curious learning about.”
The work never really stops — planning, building, rehearsing, then performance. This October will include 13 nighttime shows and two sensory-friendly daytime walkthroughs. Then comes cleanup, reflection, and the cycle begins again.
“It is always Fortress season,” Arent said through laughs.
Despite the scale of the operation, much of the Fortress remains structurally unchanged from Wing’s original vision. When Wing’s family visited, years after his death, “they were just happy that we were maintaining his vision,” Arent says.
That vision isn’t always named. Many newer volunteers don’t know Wing’s story. What remains instead are fragments — techniques, structures, even phrases passed down informally. Before the attraction opens each night, Arent reminds actors: “Silence is creepy.” It’s the kind of note that feels less like instruction and more like inheritance.
Why do people keep coming back? Arent laughs at the question. “That’s a question for a psychiatrist.”
But then he answers it anyway. Some come for a scare. Others for the chance to build, to act, to create. One volunteer described it simply: “This is free therapy.”
Families return year after year. Children come as visitors and grow into actors. Others arrive by accident: one year, three women from New York City came as guests, learned it was volunteer-run, and showed up the next night to perform as witches. “They were some of the best witches we had,” Arent laughed.
In the end, the Haunted Fortress is not just a place to be scared. It is a place maintained and reimagined by people who choose, repeatedly, to return to it.
What Wing would recognize if he walked through today is impossible to say. But the materials are still rough, salvaged. The lines still crooked. The atmosphere still built more on suggestion than shock. “We don’t do jump scares,” Arent reminds me.
And the work — the steady, often invisible work of maintaining it — continues.
Volunteers can join the maintenance effort on Sundays through August and September from 10 a.m. to 3 p.m. on the following dates:
— Aug. 9
— Aug. 23
— Sept. 13
— Sept. 20
— Sept. 27
The Haunted Fortress is located at 11 Creamery Road in Stanfordville. Email hauntedfortress@stanfordny.gov if interested in volunteering.
Patrick L. Sullivan
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.

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Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.
Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org

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