← BroadwayRadio
BroadwayRadio
Special Episode: Chipman and Youngblood on ‘The Death of Rasputin’
00:29:28
On today’s episode, Matt Tamanini is in conversation with two of the artists behind the surprise, immersive hit show “The Death of Rasputin,” Ashley Brett Chipman and Hope Youngblood. Chipman is the creator and co-director,
Loading summary
Transcript57 lines
- [00:00]
Talkspace Ad
This podcast is sponsored by Talkspace. May is Mental Health Awareness Month and Talkspace, the leading virtual therapy provider, is telling everyone let's face it in therapy by talking or texting with a supportive licensed therapist at Talkspace, you can face whatever is holding you back, whether it's mental health symptoms, relationship drama, past trauma, bad habits or another challenge that you need support to work through. It's easy to sign up. Just go to talkspace.com and you'll be paired with a provider, typically within 48 hours. And and because you'll meet your therapist online, you don't have to take time off work or arrange childcare. You'll meet on your schedule. Plus, Talkspace is in network with most major insurers and most insured members have a zero dollar copay. Make your mental health a priority and start today. If you're not covered by insurance, get $80 off your first month with Talkspace when you go to talkspace.com and enter promo code SPACE80. That's S P A CE80 to match with a licensed therapist today, go to talkspace.com and Enter promo code SPACE80.
- [01:07]
Host
Welcome to a special interview episode of Broadway Radio.
- [01:09]
Matt Tamnini
My name is Matt Tamnini. On today's episode, I'm in conversation with two of the artists behind one of the surprise hits of the spring that is not happening in midtown Manhattan but is happening in New York. It is happening over on Governor's island. And this is the immersive interactive show Death of Rasputin. I am talking with the creator and co director Ashley Brett Chipman, and the creative producer and co director Hope Youngblood. Ashley comes from a world of film and television design where she has been a set decorator and a scenic designer for projects like M. Night Shyamalan's Servant, Ryan Murphy's American Horror Stories, and numerous other projects that do seem to have a little bit of connective tissue with the death of Rasputin. As Hope Youngblood explains, she's been working in immersive theater for nearly two decades and was the resident director of Sleep no More in Shanghai for four years from 2018 to 2022. So she knows the worlds in which Rasputin is running it. The show was originally scheduled to play just through this Sunday, May 11, but has extended through the end of the month at least. And as I said, it is on Governor's Island. But the cost of the ticket actually includes the ferry that gets you over to the site, which is very convenient because for people like me who don't live in New that would probably be confusing and perhaps even a barrier that would prevent me from actually coming to the show. But if this is something that sounds interesting, let me read you the official description from the show's website. Step into a world where history is suspended, allegiances are tested, and desire will save you. The death of Rasputin isn't just an immersive performance. It's a revolution. Your fate awaits in 1916, Petrograd, Russia, where war, scandal and the occult collide. The opulent Romanovs cling to power. Enraged workers fight to survive. The philandering Rasputin captures the longing of all who suffer. Befriend revolutionaries, scavenge the palace and devour. The narrative stakes are high.
- [03:03]
Host
Where will your allegiances lie?
- [03:06]
Matt Tamnini
Not dissimilar from sleep. No more. This show is one of those where you can wander and follow different storylines and different characters to each your own unique, one of a kind experience of the show. Of course, if you are interested in checking out death of Rasputin on Governor's island, we will have information on where you can purchase tickets, including. Including a ferry ticket in the show notes.
- [03:25]
Host
All right, with all of that out.
- [03:26]
Matt Tamnini
Of the way, here is my conversation with Ashley, Brett Chipman, and Hope Youngblood.
- [03:34]
Host
Okay, so, Hope, I'll start with you. For people who only know the name Rasputin from Dance Dance Revolution in Anastasia, what do they need to know before seeing this show?
- [03:47]
Ashley Brett Chipman
Oh, that's a good question. I think that you'll learn a lot about history. You'll be involved in the action, and you're not just coming to see a play. You're. What you do in this world affects. Oh, gosh, sorry. Like, what you do and what you choose not to do in this play makes a difference.
- [04:21]
Host
And, Ashley, what do you think that is important for people who make the ferry ride over to Governor's island to keep in mind when they're stepping into this world?
- [04:33]
Hope Youngblood
Well, to piggyback on the dancer evolution, I just feel like. Actually, that's a great question because it's. I think the spirit of that dance is in the show. It's a very fun show. It's funny, it's wild, There's a lot of movement, but you'll learn a lot more. And each character in the show is fascinating and just as complicated as Rasputin himself.
- [05:06]
Host
So much of kind of the popular culture knowledge of Rasputin is this kind of guy who is into some occult things and some things that might not have been, even back in the day, considered above board. To me, it always Seems like when we're talking about immersive shows like this, there always is that element of mystery and that plays into the kind of choose your own adventure nature of shows like this. How important is that vibe and mystique that keeps people guessing and a little bit unsure of what they're diving into for something like this, where they are kind of following their own path to discover a story in real time?
- [05:46]
Ashley Brett Chipman
Yeah, I think it's incredibly important. The not knowing what's going to happen is part of discovering it along with the performance. And so you don't have a preconceived notion coming in. You're really discovering it as the performance unfolds. And I think something that's really interesting potentially is that the Death of Rasputin reflects kind of the current atmosphere in the world. There's a lot of kind of parallels between the history and things that we're feeling now. And I think it's just a great place both to kind of discover that along with the history and kind of poke fun of it at it a little bit and kind of, you know, just revel in these really bizarre times.
- [06:40]
Host
Every time I go to an immersive show, especially one that is a kind of a choose your own adventure thing, I always marvel at how intricate everything is.
- [06:50]
Matt Tamnini
Like you said, you have to kind.
- [06:51]
Host
Of discover things on your own. From a logistical production standpoint, how do you go about the process of not only mapping out the different scenes as to where they're going to happen physically, but when they happen on top of each other? How is that construction process work while still trying to maintain the dramatic and the entertainment side of things? I would imagine the nuts and bolts logic can sometimes be a little bit in opposition to the artistic side. So how do you balance those things? Ashley, I'll start with you, but we can. Whoever has thoughts on that, I'd love to hear it.
- [07:28]
Hope Youngblood
It's so complicated. It's mind boggling. Some days I'm just like. Because it's like, oh, we could have just written one script and had one show, but we have 10 scripts and 10 shows and 15 sets. So, yeah, it is logistically like an actual nightmare, but. But it's. It's a very enjoyable one and we end up kind of having to map out the show minute by minute. But I think what has helped us so much is starting with like incredible scripts and, and characters and just historical figures. So the story, once we wrote the story, it was just so solid and then we could build off that, that armature and Yeah, I hope. Do you want to add on to that?
- [08:24]
Ashley Brett Chipman
Just that we looked at so many different spaces, and every time we looked at a space, we'd get really excited and we'd say, okay, but this scene has to move here. It doesn't make sense over here. And when we finally landed on this space, we did have to do a fair amount of work to place the scenes in places that they would have, like, the most narrative value, the most punch, that people would really see them and that audiences would be drawn towards them. And it took a fair amount of time, even though we had all these scripts in place, to kind of play a little bit of Jenga and figure out how they could work together, especially with, like, particular creative constraints. Like, one of the spaces we had looked at would have been soundproof. And so we created that map for that. And this space there is kind of this beautiful, happy accident of sound bleed. And so then we had to look at all the scenes and say, oh, where would it be interesting to overhear something? And that became kind. That has become integral to the piece.
- [09:36]
Host
From. For your actors. How much does that allow them to play not only with each other and with their characters, but also with the audience as well? Do they have to, like, are they. Is there a someone with a stopwatch standing in the back, like, you have to be at this point, at this second? Or is there an opportunity for them to kind of live a little bit more because of the immersive nature of this show?
- [10:00]
Hope Youngblood
Yeah, they really inhabit and become the character. It's amazing to see even being there every day. Sometimes I see something and I'm like, oh, that's new, you know, so we're really encouraging them to embody the character, the spirit, and make room for happy accidents and engage the audience and new ways and, yeah, there's a lot of room for that. There is like a. You know, there's timing that everyone's aware of. But other than that, we encourage, like, the liveness, the. Like, the excitement that that brings when it feels new every time.
- [10:43]
Host
I'm kind of fascinated, as I was kind of going through all of the materials for the show, how your two individual backgrounds kind of work together into the creation of this show, both from a performance standpoint and a design standp for start with you hope. What is it that has kind of impressed you the most about what Ashley brings to this process that has lent into the creation of what we are seeing now over on Governor's Island?
- [11:12]
Ashley Brett Chipman
So many things. Ashley's brought so much to the process I mean, Ashley brought me into the process, which I'm very grateful for, but it's been such an exciting blending of worlds. And I feel like individually and it's been an. We chose to make a truly collaborative process, and so we are the directors, but it's so important that our actors were really on board, and anyone who was in the creative process with us was really on board, really trusted the vision, and could help to make that vision flourish. And so that just. That Ashley and I both kind of have that ethos was really exciting. And in a. In a show that has to be broader than any person, it was, you know, no, it was great to know that we were both on board with that. And then I think, you know, honestly, like, even early on when we were writing, the filmic nature of the way that Ashley thinks was fascinating to me. And I was, like, looking at films that I had never seen and getting influences in different ways. And I've been in the immersive theater world now for almost two decades, and I have, you know, a real depth of knowledge there, but to have to be able to play in a new way and then. Sorry, I'm talking so much. No, no, no, this is great. The one other thing that I would say is that when Ashley first approached me, one of her curiosities was, can we make something that's immersive and playful? So it still has weight, but it's playful. And I was just in the perfect moment in my life where I was absolutely. I had been doing these shows in China that still had depth, but were using the audience in a different cap than we've seen in some of the shows in New York. And I was really excited about exploring that more. And so I was just, you know, it was so delightful to be in collaboration with someone who also wanted to have, like, a fun experience, like, from the creative process through to the show itself.
- [13:42]
Host
And Ashley, obviously, Hope talked about how long she's been living and performing in this world. But in addition to that, or maybe you can go into because of that. Why was she somebody that you reached out to and wanted to collaborate with on this show?
- [13:56]
Hope Youngblood
Yeah. No, thank you, Hope. It's really kind. Yeah, I. I was just. I knew we needed to bring in someone with more experience in the immersive world. I'm. I have this, like, I'm from the film background, and I did a lot of poking around and researching, and Hope just seemed so cool. Like, I. And I like your work. This was incredible. And. And then when we met, I was like, oh, and she's nice. Like, oh, my God. Because that's, you know, that's always the tricky thing. But, yeah, I've just been, like, deeply grateful for your experience and just, like, running these rehearsals and bringing. Bringing out, like, the best in the actors and. And, like, just knowledge about audience interaction and, you know, just. I mean, like, deep knowledge about everything immersive. So, I mean, gosh, I'm incredibly grateful for all of that. And then I would also just say, like, you've got so many tricks up your sleeves, and, like, I appreciate your experimental nature. Like, I feel like we're making art, and it's never hokey. It's never, oh, let's just do this, like, simple thing. It's like, no, let's put the demon mask on and get them, like, dancing, you know, like, it's always, like, on the weird side, and it feels. Yeah, I'm just grateful for the, like, artistic nature that you bring to the show. There's nothing's, like, boring or, like, not. This isn't good. It's just, like, always good and always interesting.
- [15:43]
Host
So, yeah, I love that the turn of phrase putting the demon mask on could be taken either literally or metaphorically, and it probably still applies in both ways. But you guys have talked about how this is something that you're wanting to maintain that air of mystery, but also have fun. It has clearly been working because as we are recording on the website, there's currently not a single ticket available through the run that was originally scheduled to play through May 11. I know by the time this comes out, though, there will be some additional tickets and additional dates. So, hope, why don't you tell us about this extension of a show that, as we were talking about before we recorded, Spring in New York City, There's a lot of things that you're competing with, but clearly this has begun to find an audience.
- [16:30]
Ashley Brett Chipman
We're just so grateful to our audience and the community because I can't tell you how many people come up to me and said, thank you for making something new. And we were really hoping. We knew it was a risk, what we were making, and we're so delighted that the audience has come for it and is up for it. And it's. We're. We're. Yeah, we're sold out through May 11, and we'll be releasing more tickets through May 31. And it's not just that it's sold out. It's that when I see the audience participating so fully, it feels like an incredible success. Like, we want to go forward and run for as long as we can and sell as many tickets as we can. But I think in my mind, it already feels very successful because we put this experiment out into the world and the audience and our community has really supported us and bolstered us up.
- [17:46]
Host
I love that. That's not an easy thing, as we hear so many times and have even recently. Like, the idea of experimental and immersive work is difficult anywhere, especially in New York City, as we've seen just in the past week or two. So that's a remarkable accomplishment and speaks to how well this show is engaging audiences. But speaking of that, I know that this is, as I said, kind of a choose your own adventure thing, so you probably want people to stumble across things, but is there a strategy, like, is there a recommendation to be like, start here, follow this character, seek out this story point? Is there advice you would give to people that are going to make the trek over to Governor's Island?
- [18:28]
Hope Youngblood
I feel like it's really specific to the individual. Like, I tell. It's. It's really about finding. Oh, are you interested in, like, the military plot? Like, go follow that, or do you want the occult experience? Go find Lock Tina. Do you want. Do you want to be in the palace with the royals? Go find the tsar in the tsarina? So there's kind of like, I think this ability to choose what interests you, but then also be surprised by the other stuff going on.
- [19:00]
Host
Yeah, Hope. What do you think? Do you agree with that? Or do you say, like, follow this person, Hit this plot point? Anything like that?
- [19:10]
Ashley Brett Chipman
No, I think that all of the characters hold equal weight and equal value, and that's part of what's so exciting. And then we really did build it in a way that there's three very distinct worlds. And so sonically and, you know, visual, like, all visually the way the sets are, those worlds are very distinct, but then also the way that those characters participate with the audience is very distinct. And so if you prefer to be more physical in the mix, you can, as Ashley said, find Lock Tina and find the occult and. And find it through your body. Or if you prefer to go on a mission, we have that as well. And so it really does depend. And if you follow your instincts, then I think you'll have the best show.
- [20:10]
Host
So what I hear you saying is that pick one, follow that, and then come back multiple other times to follow the other ones, is what you're saying.
- [20:18]
Ashley Brett Chipman
Yes, exactly. That's the best way to see it.
- [20:22]
Hope Youngblood
But you can wander around and you'll be delighted with. What surprises you is there.
- [20:30]
Matt Tamnini
If you were seeing the show for.
- [20:31]
Host
The first time, where would you start? Ashley, you mentioned if you like this, go with this person. If you knew nothing of the show, if you weren't one of the creators, if you weren't one of the directors, which of those characters or plot lines would you be diving into first?
- [20:49]
Hope Youngblood
I feel like I'm gonna get in trouble for answering this one, but, I.
- [20:53]
Host
Mean, are you more of an occult person? You more of a military person? Are you more of a. An activity person?
- [21:00]
Hope Youngblood
You know, I. Well, obviously I'm like a Rasputin obsessed obsessor, so I would, you know, I would be curious about that. But I find that the, like, energy in the bar is. Is quite fun. It's something we worked really hard to. To make fun. And like, these, like, revolutionaries are just. It's like, political and passionate and also like drunken debauchery. So the. That I find that space quite exciting and fun, but I really love all of our characters deeply.
- [21:41]
Host
It's like picking a child, I assume.
- [21:43]
Hope Youngblood
Yeah, I mean, it's just like, I can't. Yeah, I can't tell you how talented and wonderful they all are.
- [21:51]
Host
Hope. I. Okay. She. She played it political. Are you gonna. Are you gonna stay safe or are you gonna. Are you gonna give me some insight as to where you would go?
- [21:59]
Ashley Brett Chipman
Oh, yeah, no, I'm definitely playing it safe, but it's not safe. It's like, it's true, like, when I go watch the show and I'm watching a character and looking for, you know, different interactions, different possibilities, what, what else we could be adding to the show. I'm just so blown away by each of the experiences and the. The way that people are involved. And yeah, I. I'm definitely playing it safe. I'm definitely happy with all, you know, with following each and every character.
- [22:34]
Host
That's fair. That's fair. I'll wrap it up here with a couple questions, but hope, you talked about your almost two decades in immersive theater. I'm interested what you think from your perspective makes a good immersive show. What are the qualities that, regardless of the plot, regardless of the physical surroundings, what does an immersive show have to. Have to really resonate with an audience?
- [23:00]
Ashley Brett Chipman
It's a good question, and I think Ashley asked me this when we first met, and it's really hard to define, but I guess in my experience, it's depth. People want to see something that has artistic integrity and depth and isn't relying on tricks. And I think that we got lucky that we also hit a moment that both in the world of immersive, but also in kind of how people want to interact, you know, people are ready to kind of come out and do something a little bit more playful and. And so, yeah, I think that having. Having real depth of storylines and also being sensitive to where the audience is at.
- [23:52]
Host
I love that. Just to pull back the curtain a little bit. I live in Orlando, Florida, so we are awash with, like, themed experiences and all of those things, obviously. But to hear that idea that depth is what separates a really good show from just kind of an experience is really hits home for me. So I appreciate that. I'll wrap up here and I'll ask this to both of you, perhaps in different ways, but, Ashley, I'll start with you. For people who are looking to get tickets to this show in this second window, who might not have had an opportunity to get over to Governor's island before that initial date, what are you hoping they take away from this? You guys have both said that it is fun, but it also has a lot of depth and you are playing with different types of story ideas. But for people who are going to come and see the death of Rasputin, what are you hoping they walk away thinking about the most, either in terms of the experience, the visuals, the audio, or the story that they're going to be encountering?
- [24:54]
Hope Youngblood
Tough question, I think. I think what I'm hoping that the audience takes away is wanting more of this sort of new type of entertainment. I know not everyone's seen an immersive show, and it's still like, some people come in and they don't know they're supposed to walk around, but I hope that they like this. This kind of thing. It's really. It's really like walking into a film and getting. Getting to meet the characters and. And I'd love more time to keep developing this so it feels more and more like a party and like you're not yourself when you walk in. And I feel like we've. We've touched the surface of what. What could be. And it. It's really exciting to me.
- [25:40]
Host
Well, real quick, before I pivot over to hope, you said you hope to continue to develop this. Does that mean that as the show is still running, that you are both, with the rest of your team kind of looking at things and tweaking and making adjustments and changing things on the fly so that even if somebody does follow the same character from one performance to the next, they might see Kind of an enhanced version or a changed version of the show.
- [26:04]
Hope Youngblood
Yeah, we're always making it better. I mean, gosh, we got this together so fast that I feel like we just want there. I mean, we could have taken another six months rehearsing this. So, yes, it's continually changing. And then we do have bigger visions for what this could be in, like, in the future.
- [26:26]
Host
Okay. No, so I want to. I won't ask you to reveal those. Then I. We'll wait for that for the next incarnation, but I hope I'll wrap up. You said in addition to selling tickets and getting people to come and selling out and all that stuff, you visualize this as being a success because of the way that audiences are engaging. So for people who are going to come to the show who haven't seen it before, how do you recommend that they are able to engage with this and get the most out of their experience?
- [26:56]
Ashley Brett Chipman
I think if you bring a playful spirit, you'll get a lot out of the show. One of the things that's really exciting about the way that audiences are interacting is that it's really collective. And so you're creating this collective energy with your fellow audience members, and that's really unique. So I really hope that people come in with a sense of play and really enjoy, you know, the little wink you can have when you've had an experience with someone.
- [27:30]
Host
And for people like me who love immersive theater, but also prefer to. To love it from, like, the back where I don't actually.
- [27:38]
Matt Tamnini
That's you.
- [27:38]
Host
She's raising her hand. So is that possible? Can you still get the most out of it without feeling like you have to be the person at the very front, volunteering, if there's any volunteer, and jumping in to, like, the actual interactive side of the. Of the show?
- [27:51]
Ashley Brett Chipman
Yes. I think people like you and me are very lucky because I. You know, I've been to shows where people put a microphone in my face, and I've just been absolutely terrified of that. And so we did it with the real sensitivity that we knew that people would want to interact at different levels. And so there's a lot of ways that you can view the show. You can really dive in and be a part of the revolution, or you can watch a film unfold in front of you. So there's the multitude of ways that you can be in. Involved, and the world will. Will kind of fold around you.
- [28:29]
Host
Okay. That takes a whole lot of stress off of my back. So I appreciate that. Hope. Well, congratulations on all the success you've had so far and I am sure we'll continue to have both in this incarnation and whatever other incarnations. Ashley just teased with all of the visions that you have moving forward and I'm very excited about this and getting an opportunity to see it in May. So thank you so much for the time and congratulations and I don't know, break legs. I guess with Rasputin, breaking legs might not be a terrible greeting to have, but with the rest of the run through currently through the end of May.
- [29:03]
Hope Youngblood
Thank you so much. It's great to speak with you and yeah, we're excited to continue this wild roller coaster.
- [29:28]
Better Man Ad
Men, if you're ready to reclaim your edge, listen up. I used to be held back by constant bathroom trips with multiple wake ups during my sleep and looking for restrooms whenever I was out. Then I discovered Better Man. After just two months I started experiencing fewer trips to the bathroom, less urge to go, and I even slept through some nights. I feel a noticeable boost in my overall well being, even sexual stamina. It gives me the freedom and confidence to live life on my terms. Better man is clinically tested and trusted by thousands of men over 25 years ready to take back control. Go to be betternow.com to order your supply today. That's be better now.com these statements have not been evaluated by the FDA. This product is not intended to diagnose, treat, cure or prevent any disease. Use as directed. Individual results may vary.