The Hellfire Caves Review (2025)

Scattered across the cave system, actors did a brilliant job of getting into a huge range of characters. The evening was introduced by the professor whose experiments we were to see below. Delivering a strongly acted interactive monologue, he declared that he’d retreated deep into the Earth to conduct experiments in the creation of human-animal hybrids – an effort in deity-like genesis. Later, his assistants, still in perfect character, made sure that we were batched into smaller, more individual groups.

Within, an impressive number of distinct characters were scurrying up from the cracks. This included an interactive Rabbit Man, Skeletal Goat, and Pumpkin Man who blocked our route and almost held us to the walls. Meanwhile, another doctor pierced the encroaching silence with a terrible shrieking, and a girl with a scythe, perhaps on her way to animal transformation, wanted to befriend us.

We were very pleased with the level of intimate interactions here, especially compared to previous years. One of the professors playfully asked us to play Duck Duck Goose with her, and in the process split us up before sending us into the innermost portion of the caves. The Raven, with long, clanking claws, cornered one of us to a wall, moving their talons along the limestone subtly, whilst narrating a segment of Poe’s poem of the same name – absolutely unnerving!

The costumes reflected this haunted cavern’s storyline of a deranged professor conducting unnatural experiments in the depths of these historic caves. Performers in white lab overcoats, some streaked with ominous blood splatter, evoked the feeling of an abandoned scientific outpost gone wrong. Others wore ragged garments that suggested half-finished transmogrifications with colours mixing with the dimness surrounding them. The Raven was particularly unforgettable. They had a mask of layered feathers and elongated claws that clicked along the limestone walls as they moved through the underground passages. The Rabbit and the Goat-Skull figure were also distinctive, their masks realistic and almost alive. While the dim lighting obscured the full scope of the costume and makeup designs, they were coordinated with the environment, making each character feel like they really belonged in these caves.

The customer service at the Hellfire Caves was really great, from the moment you go on their website to look up information and purchase your ticket until you leave the attraction itself. For the past few years we’ve suggested needing more signage or an attendant at the parking lot to show audiences where to go for the actual haunt (since this is a small walk) and this year this was finally implemented, with an attendant in the offsite car park who was friendly and helpful to everyone who parked up. The greeter, ticket taker and security were also all lovely, and we felt welcomed during our entire time at the haunt.

The experience started before we even went into the caverns. New signage out front was hugely improved and was encircled by skeletons in cages lit up by deep red lighting that hinted at the horrors inside. The storyline followed a deranged doctor-professor (much like that of The Island of Dr. Moreau) who was transforming people into grotesque hybrids of human and animal. This narrative was seen throughout the entire haunt.

We found the environment completely immersive. The natural design of the caves, paired with the actors’ skill in guiding you, created an organic sense of flow. At first, we expected to be caught in a crowded line, but the performers split groups and directed us along different paths. Each route provided a distinctive, personal meeting with the damned within, yet all reconnected deep within the tunnels. This approach allowed us to explore at our own pace, and even to double back if we wished to experience certain scenes once more.

The natural environment of these caves, and their exceeding age, already confers an otherworldly quality to what is within them. Add keen lighting, actors, and sound, and you can imagine why atmospherically this is one of the most interesting haunts to walk through. A few areas did seem to have specialised sound, which was mainly eerie music and foleywork overlaid with what we thought might be the professor’s voice notes.

Scenic design itself was quite minimal compared to previous years, but did include caverns with toxic waste barrels, skeletons, and a spiderweb chamber with enormous spiders having taken up residence there. In another chamber, scientist dummies wore gas-masks and appeared from the dark as slow strobing lights revealed the space. This effect was used throughout the tunnels this year, which created moments of almost total darkness, which was a new perspective on them, as usually there is ambient lighting throughout.

We also saw some interesting special effects in the pre-haunt area, where temporary lasers and fog were used to create a standing water effect around your feet, but this dissipated rather quickly being a semi-outdoor space.

The scares here leaned more toward psychological horror than cheap shock and awe. A few traditional jump scares punctuated the warren of tunnels with figures lunging from around the cave’s blind bends or letting out blood-curdling screams that echoed through the passages, so that sometimes you could hear the scare but not yet see it. But the most effective moments came from the unhurried, more personal interactions. Performers would step in near, sometimes pinning you in place as they whispered strange noises or recited fragments of “forgotten lore” (quite literally in the case of the Raven).

The result was a creeping, intimate kind of horror that built over time rather than relying on constant jump scares. It felt less like a haunted house and more like being trapped inside someone’s unraveling brain – that uneasy and all-too human feeling of going a little insane.

While there isn’t a lot of additional entertainment on site outside of the scare experience, with just a small themed seating area with a bar, it must be remembered that during the day this is a historical site. Despite this, they’ve really improved their pre/post haunt area in terms of signage and theming, making it a very fun space to start and end your journey through the caves. At a cost of £18, this attraction took us 30 minutes to walk through, meaning a minutes per pound of about 1.67, which is above average and well worth the money in our opinion, especially since you could easily decide to spend more time in the caves and keep on walking around its circuits – the actors down there even invite you to do this. This is such a unique attraction and location, and we highly recommend a visit – the actors are incredible, and the location beautifully eerie, so what more could you ask for?