Meet Jordan Berman. He's single. And he has a date with a co-worker to see a documentary about the Franco-Prussian war. At least, he thinks it's a date. Significant Other follows Jordan and his three closest friends as they navigate love, friendship and New York in the twenty-something years.
The Broadway debut of author Joshua Harmon will be complemented by the Broadway debut of rising young director Trip Cullman, who guided the play to its successful off-Broadway engagement.
Significant Other was a NY Times Critic's Pick when it premiered last summer at Roundabout Theatre Company. Charles Isherwood, writing in the New York Times, called it "an entirely delightful new play, as richly funny as it is ultimately heart-stirring."
Significant Other began at Roundabout Theatre Company following the professional debut and world premiere of Joshua Harmon's play Bad Jews at Roundabout Underground's Black Box in fall 2012.
I'll admit to finding Significant Other no better than admirably pleasant when this mounting originated at Roundabout's Laura Pels Theatre during the summer of 2015, but there's a noticeably new spark in director Tripp Cullman's production, that neatly glides from effervescent to emotionally raw. If there have been script changes, they don't appear to have been major. Jones is the only new addition to the cast, but perhaps what's happening is a strengthened connection between Mendez's Laura and Glick's Jordan as their relationship moves far beyond the straight woman/gay man dynamic typically found in popular culture. A second act confrontation that has Laura in tears because Jordan feel she's abandoning him by getting married is brutal to watch and you can legitimately ache for both characters.
Gay characters in mass culture often serve as supportive accessories in the marriage plots of others, but Harmon keeps Jordan in sharp, brutally revealing focus. Anyone whose heart has ever been broken can relate to his plight. Pushing 30, he has never been in a serious relationship, and his desperation to change that-sabotaged by his obsessiveness and awkwardness-only makes things worse. Glick delivers a star-making, gut-wrenching performance of deep sweetness and quicksilver mood shifts; a scene in which he considers sending an intense love email to a handsome coworker is a masterpiece of comic anxiety, and his climactic rant of pent-up resentment earns vigorous applause.
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