Message Send Failure: Site-Unspecificity in Plant Theater's "Dreams of Riley's Friends"; or, Why Won't Riley Respond to My Texts?

The choices audiences make in "self-scheduled" smartphone plays inevitably inform their experiences. How does the lack of site-specificity in these works that take place exclusively through mobile technologies enable a greater sense of intimacy between dis-placed actor and audience? And how do these plays challenge the self-surveillance mechanisms embedded within social media technologies, even as they exploit them?