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Their discourse reveals a script that seems to warmly embrace the e-romance process while poking fun at its failings.ODC Theater Artist-in-Residence Christopher Winslow’s score spans genres deftly, culling elements of rock, salsa, reggae, sea shanties, R&B and more into a predominately jazzy/cabaret motif. Once upon a time these types of encounters were the marked territory of contrived rom-com cinema, but the veils and deceptions of the Internet have made everyone with a laptop a potential author of such yarns.Its two lead characters — Brandon (Jackson Davis) and Heather (Cindy Goldfield) — are well aware of the limitations and less-than-real nature of their encounter when they begin their chat pirouette.Although most musicals might typically involve a colossal cast and large chorus numbers, Winslow describes "OMFG! "We get to look inside these two characters and get insight into some of their vulnerabilities and their fears of disappointing each other were they to meet in person," he says.

They talk about Chris's new Netflix comedy special "Chris D' Elia: Man on Fire" as well as how fame and social media intersect and the new definition of friendship.

Winslow and Dillard decided early on that the two main characters wouldn't be "young ingenue types. They'd be in their mid-40s and would have had multiple experiences with relationships that didn't really work out." "What I love about the premise is that people tend to get almost the truth when they meet online, but there's always the sense of playing around with the truth and reinventing yourself, which can create all kinds of mishap and chaos," Winslow says.

Three ensemble actors play into the main characters' fantasies and also help to propel the comedy; when stars Jackson Davis and Cindy Goldfield are onstage interacting with each other's online personas, the other three actors emerge from the backdrop to enhance the action and "reveal the fantasies that the characters are playing out online," Winslow says.

The set was simple (blue backdrop, one room on each side of the stage).

The size provided intimacy that Curran Theatre simply cannot.




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