What the press says ...

"Compelling....as graceful and agile on stage as she is on the page....Uyehara is definitely one to watch."

- Los Angeles Times

"One of the Hundred Coolest People in L.A...With an affinity for truth telling, body baring, and institution baiting [Uyehara is] quietly focused as a laser...fueled by a wonderful sense of the absurd...like most everything else about her, it's not quite logical, but it makes perfect sense."

- Buzz Magazine

"Best Performance Artist...serious but hilarious, Uyehara strips away performance-art pretenses while gleefully subverting her audiences' expectations...pop culture, East versus West, gender issues--all are targets for her own full-frontal kick."

- Entertainment Weekly

"Alienation, displacement and the forced search for self identity are revealed with humour and directness."

- Variant Magazine, United Kingdom

... about Maps of City & Body

"Powerful…an intimate and elegiac solo performance…there's an undenialble subtlety to the portraits Uyehara creates, and the show's vignettes emerge as surreal pointillist details that express the sense of how small actions have deeply resonating consequences…director Chay Yew's staging is intimate yet theatrical, full of small gestures, atmospheric lighting changes, and slight touches which coalesce to paint a compelling profile."

- L.A. Weekly

"Uyehara's concept of body memory and identity is intriguing in its refusal to clearly set up judgemental boundaries about sexuality and ethnicity. Instead, the patterns of movement and words swirl on the bare stage and leave room for thought."

- Los Angeles Times

... about Hello (Sex) Kitty: Mad Asian Bitch on Wheels

"Critic's Choice. She explores tough and tender territory with humor, warmth, and an exceptionally keen eye."

- San Francisco Bay Guardian

"Critic's Choice. Utterly convincing and pointedly funny....a performer of humor, depth and seeming fearlessness."

- L.A. Weekly

"[Uyehara] describes making love as an opportunity to see, if only for a moment, a person with the layers stripped away....we are naked at the moment of orgasm, and it is then that our true selves are visible through the eyes."

-Labyrinth Philadelphia Women's Newspaper

"Critic's Choice. Kiss Cuteness Goodbye...brutally honest...Uyehara meets Mad Kabuki Woman and deconstructs sexual and cultural identity."

- San Francisco Weekly

Nominated for "Outstanding Cultural Event of 1996"

- Lambda Awards, Philadelphia Gay News

... about Headless Turtleneck Relatives

"A haunting reflection of the past...blends song and soliloquy."

- Seattle Post-Intelligencer

"Critic's Choice. Treading the high ground between sentiment and cynicism, Uyehara relates her grandmother's fiery suicide in simple, evocative terms....[Her] wonder as she explores the unknowable resonates beyond the theater's walls to the dark details that inhabit the corners of our lives."

- L.A. Weekly

"The telling of her tales pointed and the performance itself pristine....the material careens from tragedy to irony, and from past to present to future...In fact, what separates Uyehara from the pack is that she has both a voice, as in stage and vocal skills, and a voice, as in sharply realized point of view."

- Los Angeles Times