shorturl.at\/nBFR3<\/a><\/p>\nReview Excerpts<\/h2>\n
\u201c\u2019MAJORITY OF ONE\u2019 IS STILL A WINNER\u2019\u2026. Phyllis Newman\u2026 helps us see just what a well-made play \u2018Majority\u2019 actually is. Instead of proving dated, \u2018Majority\u2019 is really about prejudice\u2013a theme that, sadly, continues to speak to our era\u2026.If Newman has pulled this play out of the dramatic attic, removed the mothballs and proven it to be a sturdy, heartwarming comedy with her subtle and finely shaded performance, she is not alone in rehabilitating its reputation. Randall Duk Kim is marvelously understated yet wise and charming as Asssano\u2013a role previously played with embarrassing results by both Cedric Hardwicke and Alec Guinness posing as Asians\u2026.\u201d
\n \u2013David Kaufman, NY DAILY NEWS (1\/25\/1999)<\/b><\/p>\n
\u201c\u2018A GRACEFUL RETURN TRIP TO TOLERANCE\u2019 SLOW DOWN\u2019\u2026.Phyllis Newman\u2013that rare star actress who has allowed herself to age naturally\u2013plays the central role of Mrs. Jacoby, a Jewish widow who leaves her modest Brooklyn apartment to travel to Japan with her daughter and son-in-law,\u2026she meets a Japanese widower and, much to her surprise\u2013since her son was killed by Japanese soldiers during World War II\u2013develops a warm friendship. The millionaire manufacturer, Mr. Asano, is now played by Randall Duk Kim (\u2018Golden Child,\u2019 \u2018The King and I\u2019), who is not only of Asian descent but a wonderful match\u2013in graciousness, wit and romantic sparkle\u2013to Newman\u2019s level-headed but quietly sensual Mrs. Jacoby\u2026.\u201d
\n\u2013Aileen Jacobson, NEWSDAY (1\/25\/1999)<\/b><\/p>\n
\u201c\u2026Randall Duk Kim, last seen locally as Belarius in the Central Park Cymbeline. Kim\u2019s the best transformative actor in America, equally wonderful as Puck, Hamlet, or Walt Whitman. A lonely Japanese tycoon is almost too easy an assignment; he immerses himself in it so thoroughly that I expect to see him on TV next week, announcing the collapse of another Tokyo bank.\u201d
\n \u2013Alexis Soloski, VILLAGE VOICE (2\/2\/1999)<\/b><\/p>\n
\u201c\u2018A MAJORITY OF ONE\u2019 Attend the Jewish Repertory Theatre\u2019s revival of Leonard Spigelgass\u2019s quaint 1959 play A Majority of One<\/i>, and you\u2019ll receive a lesson in how Broadway drama was handled two score years ago\u2026.the pre-PC casting of the day was typically atrocious. Sir Cedric Hardwicke played Asano on Broadway, and a fellow Knight of the Realm, Sir Alec Guinness, played him in the subsequent movie. Luckily, JRT has cast more aptly. Randall Duk Kim cuts a dignified figure as Asano. Exhibiting fine comportment and diction, which has something to do with his character and everything to do with his talent, he injects the old man with equal parts decorum and personality. Phyllis Newman, as Jacoby, at time seems a bit off her footing, but there\u2019s little denying she\u2019s perfect for the role\u2026.The evening\u2019s chief attraction, however, remains Kim, who valiantly crafts a genuinely noble figure out of the honorable but hackneyed Asano. It\u2019s a nice piece of artistic alchemy.\u201d
\n \u2013Robert Simonson, TIMEOUT NEW YORK (2\/4-11\/1999)<\/b><\/p>\n
\u201c\u2018A MAJORITY OF ONE\u2019\u2026In kind, Kim (Golden Child, The King and I<\/i>) gives Mr. Asano an infectious joyfulness. Here is a successful businessman, suffering the loss of a wife for the last two years, who bumps into a woman grieving for her dead husband. Both have a pride and dignity that is quite noble\u2026.\u201d
\n \u2013Ricky Spears, IN THEATER (2\/8\/1999)<\/b><\/p>\n
\u201c\u201dA MAJORITY OF ONE\u2019 TRANSCENDS ITS GENRE AND TIME PERIOD\u2019 \u2018A Majority of One\u2019 by Leonard Spigelgass, the heartwarming story of a widow who finds romance in the autumn of life, is currently enjoying the final week of its run at The Ogunquit Playhouse\u2026.While many plays of that era have retained only a niche market of older theater goers, \u2018A Majority of One\u2019 is an exception. The themes of this story transcend the limitations of its genre. Juxtaposed are the pain of losing a child to war, the resultant prejudice, and ultimately the resiliency of the human spirit. The message is uplifting\u2026.Stage veteran Phyllis Newman brings a quietly assertive edge to the role of Mrs. Jacoby\u2026.Randall Duk Kim, who plays Mr. Asano, is quite simply, splendid. Kim\u2019s Mr. Asano is dignified and charming. Yet, even while he projects an amazing gentleness of spirit, his stage presence is disarmingly powerful. The result is mesmerizing\u2026.\u201d
\n \u2013MaryAnn Robertson, SPOTLIGHT (7\/29\/1999)<\/b><\/p>\n
\u201c\u2018A MAJORITY OF ONE\u2019 Forty years ago, Leonard Spigelgass wrote a warm, funny and very brave play that won four Tony nominations. He called it A Majority of One. Just fourteen years after the end of World War II, Spigelgass broached the possibility of a romance between a widowed Jewish mother from Brooklyn (who lost a son in the Pacific campaign during the War) and an equally mature Japanese widower. The play has returned to the New York stage in a production that is likely to be admired not by a majority of one, but of everyone\u2026.The play is grounded and made particularly compelling by the luminous and unerring performance given by Phyllis Newman. Never once does she stoop to turning Mrs. Jacoby into a Jewish mother caricature. Instead, Newman gives one of this year\u2019s most natural, understated, yet fiercely alive performances. It is a study in subtlety. She is ably abetted by Randall Duk Kim, who plays her gentlemanly Japanese love-interest, Mr. Asano\u2026.\u201d
\n \u2013Scott & Barbara Siegel, SHOW BUSINESS (2\/3-9\/1999)<\/b><\/p>\n
\u201c\u2018A MAJORITY OF ONE\u2019 The Jewish Repertory Theatre is now offering a revival of Leonard Spigelgass\u2019 \u2018A Majority of One,\u2019 starring Phyllis Newman<\/strong> and Randall Duk Kim<\/strong>. In this feel-good play East meets West, and love may or may not conquer all. An elegant Japanese gentleman and an attractive Jewish widow, who meet on shipboard, reach out to each other, and cross cultural borders\u2026.Moreover, this is a smoothly-staged production, under Richard Sabellico<\/strong>\u2019s able direction. What makes it extraordinary is Newman\u2019s performance. With her considerable stage presence, she carries the show on her ample shoulders. The play could get slushy, but she never lets it descend into cheap sentimentality. Whether clad in a kimono and sipping tea in a Japanese home, or serving gefilte fish to her Japanese suitor at a Sabbath dinner, she makes it all seem right, natural, and believable. The beauty and strength of her performance is well matched by Kim as her suitor. Though small of stature, Kim is an equally imposing and dignified, presence\u2026.\u201d
\n \u2013Irene Backalenick, BACK STAGE (2\/5-11\/1999)<\/b><\/p>\n\u201c\u2018A MAJORITY OF ONE\u2019\u2026Phyllis Newman gives an at first over-restrained performance that warms to the task; Randall Duk KIm is fine as Koichi, even when he forgets to turn his l<\/em>\u2018s into r<\/em>\u2018s\u2026.\u201d
\n \u2013John Simon, NEW YORK MAGAZINE (2\/15\/1999)<\/b><\/p>\n\u201c\u2018SWEET COMEDY POKES GENTLE FUN AT RACISM\u2019\u2026Newman\u2019s plainspoken Jewish widow is handsomely partnered by Randall Duk Kim, who was so effective as a the paterfamilias of that bickering household in last season\u2019s \u2018Golden Child.\u2019 Investing his businessman with quiet charm and a flavorful Japanese accent, Kim plays his iron-willed gent with a subtle twinkle of humor\u2026.\u201d
\n \u2013Michael Sommers, THE STAR-LEDGER (1\/28\/1999)<\/b><\/p>\n
\u201c\u2018JRT\u2019s \u2018A MAJORITY OF ONE\u2019\u2013ACTORS MAKE DATED SHOW WORTHWHILE\u2019 What\u2019s not to love about Mrs. Bertha Jacoby\u2013quintessential Jewish mama with a formula for eternal vigor that involves disciplined recourse to \u2018hot water and lemon?\u2019 As played by the irrepressible Phyllis Newman, Mrs. J. is a delight and the most compelling reason, along with an elegant and heartwarming performance by co-star Randall Duk Kim, to catch the Jewish Repertory Theatre\u2019s current revival of A Majority of One<\/em>\u2026.If only the rest of Majority of One had half the zip, self-mocking humor and quiet wisdom that characterize Newman\u2019s and Kim\u2019s polished performances. If truth be told, the creaks abound in this dated, formulaic script. (Imagine a character actually announcing to his mother-in-law\u2019s yenta neighbor, \u2018The only way you can stop prejudice is to stop it in yourself!\u2019)\u2026\u201d
\n \u2013Naomi Siegel, NEW JERSEY JEWISH NEWS (2\/4\/1999)<\/b><\/p>\n\u201c\u201dA MAJORITY OF ONE:\u2019 CHICKEN SOUP FOR THE SOUL\u2019\u2026we\u2019ll never forget Randall Duk Kim\u2019s gentle humor, bemused intelligence, dignity and grace in an exquisite award caliber performance. What a wonderful actor he is!\u2026By its conclusion, we\u2019d become so fond of the wise, compassionate human beings crafted by Ms. Newman and Mr. Duk Kim it would have been a joy to really share sake and conversation with them\u2026.\u201d
\n \u2013Arlene Epstein, SOUTH SHORE RECORD (2\/4\/1999)<\/b><\/p>\n
\u201c\u2018A SATISFYING REMINDER OF PLAYS OF PAST\u2019\u2026Her scene in the Japanese businessman\u2019s home is especially effective as she begins to grasp not only the differences but also the similarities between their cultures. A real magic begins to take place as he changes the subject from her son-in-law\u2019s trade negotiations to his interest in a possible romance. The scene is touching and there is a sense of chemistry between Ms. Newman and Randall Duk Kim, who plays the Japanese. He is a fine actor and his portrayal of the businessman is effectively understated playing\u2026.\u201d
\n \u2013Martin Gottfried, NEW YORK LAW JOURNAL (1\/29\/1999)<\/b><\/p>\n
\u201c\u2018A MAJORITY OF ONE<\/i> IS DELIGHTFUL COMEDY WITH A SERIOUS MESSAGE\u2019\u2026The Hawaiian-born Randall Duk Kim, an Obie Award winner for \u2018sustained excellence of performance,\u2019 gives another of his polished performances as the dignified Mr. Asano. He manages an excellent Japanese accent, one that is clearly understandable yet with the right enunciation (no small feat); he also produces elaborate Japanese-style bows, considerable wit, and a traditional Japanese daughter-in-law enacted with \u00e9lan by AKO as Ayako Asano\u2026.\u201d
\n \u2013Rose Safran, THE YORK WEEKLY (7\/21\/1999)<\/b><\/p>\n
\u201c\u201dMAJORITY\u2019 IS A WINNER, HANDS DOWN\u2019 Watch the hands! No, not those on a clock, but those of Randall Duk Kim and, especially, Phyllis Newman, the two leads in the Ogunquit Playhouse production of Leonard Spigelgass; A Majority of One<\/i>, as play that still resonates with meaning 40 years after it was written\u2026.\u201d
\n \u2013Gaetano Santa Lucia, JOURNAL TRIBUNE (1999)<\/b><\/p>\n
\u201c\u2018OGUNQUIT PLAYHOUSE\u2019S A MAJORITY OF ONE IS SMOOTH AS ORIENTAL SILK\u2019\u2026Randall Duk Kim steals the show as Koichi Asano. He is so restrained that his hands rarely leave their position clasped behind his back. An endearing vulnerability radiates from him in spite of his wealth and power. Desperately lonely, he has lost both his children in the war and is a recent widower. Mrs. Jacoby lost her son in the war and is a recent widow\u2026.\u201d
\n \u2013Carol Standish, TOURIST NEWS (7\/22\/1999)<\/b><\/p>\n
\u201c\u201dA MAJORITY OF ONE\u2019 IS ROMANTIC, TIMELESS STAR VEHICLE\u2019 OGUNQUIT\u2013Fans who remember the great plays and great stars of Broadway in the 1950s and \u201960s have a rare chance to see both in \u2018A Majority of One\u2019 at Ogunquit Playhouse\u2026.Directed as a faithful period piece by Richard Sabellico, \u2018A Majority of One\u2019 is oddly timeless, probably because Spigelgass\u2019 characters are drawn believably. The role of the mother can be a focus-pulling turn, but Newman doesn\u2019t play it that way. Instead, she offers a shaded, dignified portrait of a warm, plausible woman who sees the funny side of life and gets the joke along with the rest of us. As her admirer, Randall Duk Kim has a mature sexiness and dignified bearing; the closing scene where he and Newman sit down to dinner and a new beginning is full of romantic tension and therefore a wonderful payoff for the audience who has come to care for these two\u2026.\u201d
\n \u2013Cathy Nelson Price, PORTLAND PRESS HERALD (7\/21\/1999)<\/b><\/p>\n
\u201c\u2018DON\u2019T BE LEFT OUT OF A MAJORITY OF ONE\u2019 A Majority of One, now on stage at the Ogunquit Playhouse, is one of the theater\u2019s best productions of the season. It was well performed, directed and the visuals are top-notch. The script itself, which hits some pretty weighty subject matter, does so with a light story\u2013and yet manages not to trivializing the issue. It\u2019s entertainment with a point\u2013minus the heavy hammer\u2026.Randall Duk Kim, as Mr. Asano, simply stole the show. This man is an exceptional performer. He has incredible charm, that special je ne sais quoi that makes an actor stand out for more than their obvious talent. Each time he walked on stage everything jumped to life including the audience\u2019s interest. This play is a good solid piece, well worth getting out to. This man makes it a shame to miss\u2013a reason to even see it twice\u2026.Director Richard Sabellico plays this show true to script. The characters are all who they should be. Appropriately there is nothing fancy here, just clean, interesting, well-paced action. A fine job\u2026.\u201d
\n \u2013Jeann\u00e9<\/b><\/p>\n
McCartin, FOSTER\u2019S SHOWCASE (7\/29-8\/4\/1999)<\/p>\n","protected":false},"excerpt":{"rendered":"
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\u201cKoichi Asano\u201d \u2013 1999 - Randall Duk Kim<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cKoichi Asano\u201d \u2013 1999 - Randall Duk Kim\" \/>\n<meta property=\"og:description\" content=\"[aesop_gallery pslightbox=”on” transition=”crossfade” caption=”1-3: Photos found online at ako–actress.com” galleryType=”grid” id=”1110″] Here is a link to an interview about the show: shorturl.at\/nBFR3 Review Excerpts \u201c\u2019MAJORITY OF ONE\u2019 IS STILL A WINNER\u2019\u2026. Phyllis Newman\u2026 helps us see just what a well-made play \u2018Majority\u2019 actually is. 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Phyllis Newman\u2026 helps us see just what a well-made play \u2018Majority\u2019 actually is. Instead of proving dated, \u2018Majority\u2019 is really about prejudice\u2013a theme that, sadly, […]","og_url":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/","og_site_name":"Randall Duk Kim","article_published_time":"1999-01-01T01:03:57+00:00","article_modified_time":"2022-02-12T00:54:35+00:00","author":"Randall Duk Kim","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Randall Duk Kim","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/#article","isPartOf":{"@id":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/"},"author":{"name":"Randall Duk Kim","@id":"https:\/\/performingartslegacy.org\/kimrandall\/#\/schema\/person\/aaec48a73258b199f5ae77eac9a94c3c"},"headline":"\u201cKoichi Asano\u201d \u2013 1999","datePublished":"1999-01-01T01:03:57+00:00","dateModified":"2022-02-12T00:54:35+00:00","mainEntityOfPage":{"@id":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/"},"wordCount":2171,"articleSection":["Performances"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/","url":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/","name":"\u201cKoichi Asano\u201d \u2013 1999 - Randall Duk Kim","isPartOf":{"@id":"https:\/\/performingartslegacy.org\/kimrandall\/#website"},"datePublished":"1999-01-01T01:03:57+00:00","dateModified":"2022-02-12T00:54:35+00:00","author":{"@id":"https:\/\/performingartslegacy.org\/kimrandall\/#\/schema\/person\/aaec48a73258b199f5ae77eac9a94c3c"},"breadcrumb":{"@id":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/performingartslegacy.org\/kimrandall\/a-majority-of-one-1999\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/performingartslegacy.org\/kimrandall\/"},{"@type":"ListItem","position":2,"name":"\u201cKoichi Asano\u201d \u2013 1999"}]},{"@type":"WebSite","@id":"https:\/\/performingartslegacy.org\/kimrandall\/#website","url":"https:\/\/performingartslegacy.org\/kimrandall\/","name":"Randall Duk Kim","description":"A Performing Arts Legacy Project site","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/performingartslegacy.org\/kimrandall\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/performingartslegacy.org\/kimrandall\/#\/schema\/person\/aaec48a73258b199f5ae77eac9a94c3c","name":"Randall Duk Kim","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/1f75b41fd5bca167c2092852f6d8b36da89000d7c942526641d933de43624965?s=96&d=blank&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/1f75b41fd5bca167c2092852f6d8b36da89000d7c942526641d933de43624965?s=96&d=blank&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1f75b41fd5bca167c2092852f6d8b36da89000d7c942526641d933de43624965?s=96&d=blank&r=g","caption":"Randall Duk Kim"},"sameAs":["https:\/\/kimrandall"],"url":"https:\/\/performingartslegacy.org\/kimrandall\/author\/kimrandall\/"}]}},"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/posts\/1228","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/users\/268"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/comments?post=1228"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/posts\/1228\/revisions"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/media?parent=1228"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/categories?post=1228"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/kimrandall\/wp-json\/wp\/v2\/tags?post=1228"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}