Imagine the most embarrassing moment in your sexual history. Got it? Now imagine recounting that moment to a stranger. Now imagine recounting that moment to a room full of strangers while holding a microphone and hearing them laugh at you. This is what comedian Nikki Glaser — who last year hosted 20 episodes of the since-cancelled Comedy Central sex talk show "Not Safe with Nikki Glaser" — does on an ongoing basis. Sex is the central focal point of the majority of her work. And during her intensely personal performance Friday night at Thalia Hall it was almost the entirety of her work. Which was expected. Unexpectedly, most of it didn't connect. While Glaser has long mined her sex life — the desires, the hang-ups and the acts themselves — for surprising laughs (last year's hourlong special "Perfect" offers plenty of examples of her skillful dissection of her own sexual psyche), during this 65-minute set she seemed to be so caught up reveling in revealing remarkably intimate details about herself that she forgot to tell jokes. After a solid opening, with spot-on one-liners like "I just became a stay-at-home aunt." and "There's a lot I want to do before I have kids. Like die." Glaser dove into stories about her current on-again/off-again relationship and sex life. ("I don't want to get married," she said. "Mostly because he doesn't want to marry me.") But instead of letting these stories provide a framework for her familiar winking sexual gags, the anecdotes themselves became the set, stretching on and sometimes growing repetitive without much comic relief. Of course, personal stories — whether based in truth, partially exaggerated or entirely made up — aren't in themselves detrimental to a comedian's work. New comedians might describe events from their day-to-day lives to help build a clear, unique voice for their particular brand of comedy, while more established comics can bank on an audience's familiarity with their backstories to provide a shortcut into an especially compelling bit. But the great risk that comes with the hyper-personal method — being too focused on the confessional angle and not enough on the comedic — is where Glaser found herself stuck for