A scrappy D.C. theater company with an edgy modern aesthetic, Rorschach Theatre doesn’t ordinarily recruit, as set designer, the Gilded Age sculptor Augustus Saint-Gaudens. But Rock Creek Cemetery’s famous Adams Memorial — with its shrouded figure by Saint-Gaudens — is one of the backdrops to Rorschach’s latest production, “Distance Frequencies.” A season-long immersive experience, “Distance Frequencies” sends audiences on monthly excursions to lesser-traveled Washington-area sites, where landscapes — together with the contents of curated mailed packages — help conjure a mysterious overarching story that is partly set in those locations. The production kicked off in October with an installment centered on Rock Creek Cemetery.

Ticket holders receive a monthly box containing evocative artifacts and directions for taking a self-scheduled trip to a location where social distancing is easy. No live actors are present at the destinations, but the boxes’ contents — which in November included not only documents but a napkin scribbled with a phone number that provided access to an audio file — offer clues to the multi-chapter narrative, which audiences piece together in their minds. The encounter with the environment is central to the project, both because it gives the patron a staycation-style adventure and because it provides a sense of nearness to the story’s characters, who are revealed as having spent time there. But the production can also be experienced from home in an adapted virtual version. (Audiences can sign up at any time and receive boxes from previous months.)

Photos, stalks of lavender, an enigmatic letter seemingly written at the cemetery by a long-ago brooding visitor: These items in the October box helped launch the “Distance Frequencies” story, which has to date involved ghostly happenings, family tensions, voice-mail messages and forgotten aspects of D.C. history.

Rorschach’s vision in general “is about putting audiences in the world of the play and surrounding them with that world — and you can’t do that on Zoom,” says co-artistic director Jenny McConnell Frederick, explaining the rationale for “Distance Frequencies” in a recent Zoom interview.

Frederick is among the project’s joint creators, along with co-artistic director Randy Baker; playwrights Jonelle Walker and Doug Robinson; costume and scenic designer Debra Kim Sivigny; multimedia designer Kylos Brannon; sound designer and composer Roc Lee; and sound designer and deviser Tosin Olufolabi. The team’s concept for the production includes seven mailing-enhanced chapters, culminating in July in the only “Distance Frequencies” installment with in-person actors: a site-specific performance (probably outdoor and socially distanced).

So far, the experiment has been a success. Frederick says that “Distance Frequencies” has to date attracted almost three times as many subscribers as anticipated but that the company is prepared to meet even further demand, should that materialize. Feedback has been overwhelmingly positive, she says. A particular comment lodging in her memory: “One of our subscribers called [the project] ‘analog augmented reality.’ ”

Still, the endeavor has had challenges. For example, a hotel that once seemed a promising place for visits had to be ruled out (at least for the moment) after it suspended operations because of the pandemic. Given how rapidly local conditions are evolving, the “Distance Frequencies” creators have refrained from selecting locales far in advance, even though the team has mapped out the general trajectory of the entire story.

That approach can be stressful for the collaborators. “This discovery-as-we-go is a way I’ve never written before,” says Robinson, whose previous plays include “Pride of Doves,” seen at the 2019 Capital Fringe. Still, he adds, “it is inspiring — a different kind of artistic integrity.”

“I actually usually write my plays from the ending backwards, so this is a completely different process for me,” says Walker, author of Avant Bard Theatre’s 2016 Shakespeare riff “Tame.” But she appreciates that the “Distance Frequencies” writing process accommodates serendipity. When her research for the Rock Creek Cemetery episode triggered an “aha” moment, she says, “it just felt like the universe had put a plot point — or an idea, or this theatrical encounter — on a platter.”

Because the story has arcs set in the 1930s and 1990s, research has been key. The collaborators have tracked down watershed maps, read up on sewer systems and searched for top-10 song hits from November 1993.

Sivigny has relished the opportunity to concoct theatrical objects that audiences will not just glimpse from afar, as often happens with design for an onstage show, but touch and scrutinize. She supplied the cursive for a character’s heartfelt 1930s letter herself, mimicking the Palmer Method — a penmanship system popular in the first half of the 20th century — then adjusted the results in Photoshop. “Knowing that these artifacts and pieces will fall into the hands of people looking directly at them” is “really engaging my designer detail-oriented mind,” Sivigny says.

Of course, no matter how carefully the creators prepare their packages, real-world settings add unpredictability. When I visited Rock Creek Cemetery, an encounter with a distressed couple whose car had been robbed while they were yards away at the Adams Memorial — the thief stole their phones and car keys, and ignored their dog — briefly distracted me from imagining the “Distance Frequencies” character whose letter I had been reading.

Frederick and Baker acknowledge that to mount a field-trip-based work like “Distance Frequencies” is to surrender some of a theatrical producer’s traditional control. On the other hand, Baker notes, given the nature of live performance, “Theater is always something where control is not 100 percent.”

And “Distance Frequencies” resonates with the times. What Rorschach artists want right now, Frederick says, is to “tell stories that keep our audience feeling confident in their safety, but also inspired and engaged, and connected to each other — and connected to the community.”

Distance Frequencies

Rorschach Theatre. rorschachtheatre.com.

Dates: Monthly boxes sent through April, followed by a site-specific show, at a time and location to be determined, in July. Join any time and receive previous boxes.

Prices: $150 for full season, or three installments of $60 each.