SIGNIFICANT OTHER Previews — Page 2

Any press reviews on this yet? It opened last night.

Just got back and really enjoyed this. Perhaps it's because I'm in the demographic (whereas a typical roundabout crowd seems to be over 65), but it all rang so true to me - insecurities, changing relationships, etc. Found it to be very funny with a lot of raw emotion and heart. Gideon Glick was fabulous!

Has anyone sat in the last row/partial view for this show? Is it worth the HIPTIX price?

I think I sat up there for the ACCESS10 tickets and the view is fine. The stage is pretty high so it's actually not bad to be in the mezzanine. The theatre is also fairly small so I don't think there's a bad seat. I'm not sure why it would be partial view though.

saw this and loved it. Really wonderful work from the cast.

I used hiptix gold, so i cant speak as to what exactly the view is from the back row, but it is likely only partial b/c of the overhang. The set is multi-leveled, but the top platforms (which i assume is somewhat cut-off) are only rarely used. Just a couple tableauxs and a few lines during a phone call. So I'd say go for it, its a small enough theatre that youll still enjoy it from the last row. A friend sat there last night and had no complaints.

Saw this on Friday and thought it was very good. The play itself has a tendency to become a bit repetitive with the three weddings, but the writing was good enough that it didn't bother me too much. On a personal level, I related to this so much. I'm a gay man who moved to New York last year, and it's certainly been a hard transition. It's such a big place, but it can be very lonely too. Plus, I have three older sisters, all of whom are married, and as the only single one left in the family I completely understood where Jordan is coming from in this play. Not having a boyfriend isn't the worst thing in the world, but when it seems like everyone around you has found someone, it's hard not to feel that frustration magnified. I also felt that the play is particularly interesting in the wake of the Supreme Court ruling. While of course it's wonderful and I'm thrilled it all turned out the right way, it is a bit strange as a single gay person because it applies you while reminding you that you still haven't found someone yet. I don't know if that was in Joshua Harmon's head while writing this, but it's a nice extra layer.

The cast was excellent all-around, and Gideon Glick carries the whole thing beautifully. He's such a mess but so charming and likeable, and his big scene with Lindsay Mendez in the second act was fantastic. Barbara Barrie was also lovely. I can understand that this play maybe isn't for everyone, but I found it pretty effective all-around and I hope it has the sort of success that Bad Jews has had all over the country.

No extension. I know a cast member.

This show fvcked me UP for a day or two. Damn.

Saw this tonight and really glad I did. I rather liked it. He has a great ear for dialogue, and I really loved how it was written. I do agree the show lagged a lot. Certain things weren't needed - all the grandmother scenes really seemed rather pointless? I think those could have been solved in a phone call without the grandmother there or something. But I have to echo that I'm not sure Harmon is a great playwright. I foresaw the ending far before it happened, and then he has a whole scene with his Grandmother that essentially tells us "This is how the play will end." I think it would have been more poignant if we didn't have that scene. Also, I agree with whoever said it all seemed a little to clean. The girls meet a man, marry them, have kids. But the gay guy can't seem to find anybody? Are his only options overtly-gay men who say "Hey girl" and straight men who seem gay? Those are his only options in the world? All the girls are in happy marriages? None of them get divorced? Why couldn't the play end with them all dancing, including him in their happiness. I guess that's not the play he wanted to write, but I don't think I agree with his themes, etc.

But I'm still glad I went. And I really liked the set! I don't get why the hanging light was there or the cord showing. And I don't get why their was a scrim over everything? Or why the set was so elaborate and hardly used, but I liked looking at it.

The acting overall was great. I thought all the characters were fairly interesting, if not somewhat the same. Are all his friends valley girl/airhead types? I guess I wasn't totally sure why he'd wanna hang with those kinda people? And Jordan came off as a pretty annoying person who is all about himself, which could lead to why he's single?

But it's playing for another week, so I'd say it's worth checking out. If nothing else, it got me thinking.

I saw it this afternoon. Agree with the consensus. The play starts so strong, the Kiki material is the tightest/strongest of the portrayals of the three friends' plights in my opinion; her beats and lines -- though broadly presented - are razor sharp. We feel early on as if this play may well leap past sit com dynamics. Early on it looks at boundaries (Kiki and her wet spanx) and what breaching those boundaries means to Jordan's other issues (see below), and then sort of abandons all of that to focus on the dynamics of dating/proposing/wedding ritual. The next two female friends are less arresting, drawn (in the writing) with slightly less pith, though Mendez -- given a lot of stage time -- makes a persuasive case for hers (wish she'd been given more comedy; she has a lot of water treading in the first act).

The story makes a fairly daring turn -- by the "Will and Grace and Grace and Grace" set up of the front end -- midway through act two, and begins to explore somewhat deeper more timeless waters. I wish they went still deeper. The playwrights begins to look at issues beyond not finding a partner, like how well a G, B or Q man relates to other men, when it's easier and/or more expedient to achieve emotional intimacy with women. And what's that startling revelation mean when the syndrome has been a habit pattern likely dating to childhood. It's a rather bigger and more complicated issue than the front act tackles, giving so much stage time to the girl pals's Bridesmaid-y travails. But when it arrives, the play's ambitions are suddenly sharper and unavoidably larger, and Glick goes for it. (If he plays the bravura aria too much at one level, at least at this point in the run; it's desperately in need of a director's notes to reshape and orchestrate it anew. I was second row center and lost completely endings of sentences.) And the ending -- no spoiler -- is equally daring, because it abandons sitcom completely. It's a Company without a "Being Alive." Or with the song unexpressed but waiting to have a cathartic motivator.

Sometimes the story reminded me -- in tone -- of Jeffrey without AIDS. But Harmon takes the Jeffrey dilemma into another era-specific direction. And then again, he suddenly turns a corner and this man's crisis seems much more complex than finding Mr. Right or Right/now. Jordan doesn't know how to simply slow down and talk to another man, nor how to locate one who is appropriate. Timeless, and ageless, and here it's presented as emotionally isolating. What is sitcom plot fodder for 90 minutes is rendered as a more character-specific, less generic problems. A very interesting question is thus asked -- what's the way out of this -- and the play wisely offers no easy answers.

Barrie was out, but Alice Cannon was lovely and obviously has gone on before (she was with Barrie in Company, speaking of that show). I like the scenes, and per my comment above, see how even they are related to Jordan's bigger issue. But they do run on.

Updated On: 8/8/15 at 10:04 PM

I can easily see this being done in regional theaters on a much simplier/smaller scale.