Actor/ Singer / Mover / Maker

ALOHA E KOMO MAI (hello, welcome)

Eiko Moon-Yamamoto (she/they) was born in Tokyo to a Japanese and Korean family — two cultures with a complicated history between them. She grew up between Honolulu and a farming community in Central Valley, where her family were the only Asian-Americans. Never quite belonging to one place, she has always carried more than one home. It is why they are drawn to stories: not only those that live in the margins, but the canonical works of the American theater that have too rarely been told through bodies like theirs — and the belief that they are richer for it. Eiko has tested this conviction across the range — from Afong Moy, the first Chinese woman to immigrate to America, in Lloyd Suh's The Chinese Lady, to Elizabeth Condell in Lauren Gunderson's The Book of Will, to M'Lynn Eatenton in Steel Magnolias.
This commitment extends to the development of new works. They have collaborated with Playwrights Foundation, PlayOn Shakespeare, Magic Theatre, San Francisco Playhouse, Crowded Fire, Z Space, AlterLab, and Company One — institutions at the forefront of expanding whose stories the American stage tells and how. To foster the next generation, they have worked with Young Writers of Color Collective at The Ground Floor at Berkeley Repertory Theatre and the Ruth Asawa School of the Arts.  Eiko is an Artistic Associate of Rainbow Zebra Productions, a resident company at the Magic Theatre and a PlayGround SF company member. The first in her family to earn a college degree, Eiko holds a BA from UCLA and a BFA from California College of the Arts, San Francisco. At home she is raising her son, two ragdolls and too many plants to count!
Aloha Nui Loa!
  • Eiko Moon-Yamamoto does an outstanding job singing and channeling her bossy Bloody Mary role

    -Cary Lynn Pace, North Bay Stage and Screen review of Rodgers and Hammerstein’s SOUTH PACIFIC at 6th Street Playhouse

  • Some of the best acting comes from Eiko Yamamoto as Louise, the stage Manager who tries to keep everyone in line.

    -Judy Richter, The San Mateo Daily Journal review of THE 1940’s RADIO HOUR by Walton Jones/ Hillbarn Theatre

  • Eiko Yamamoto is Jack's worried and prodding mother who brings her own winning voice that has the ability to pierce through the air with electrifying presence.

    - Eddie Reynolds (SFBATCC), Theatre Eddys review of Sondheim’s INTO THE WOODS at Mountain Play

  • Brilliant...Meiko (Eiko Yamamoto)...throughly committed. Actors are well-matched to characters and deliver a difficult script with utter believability so that you feel you know these people in real life. An absolute must see.

    -Jeannie K. Smith (SFBATCC), Sonoma County Gazette review of Johathan Spector’s EUREKA DAY at Spreckels Theatre Company

  • It's definitely worth 90 minutes of anyone's time. Eiko Moon-Yamamoto plays Afong and Joseph Alvarado plays Atung. Both are excellent.

    - Joanne Engelhardt (SFBATCC), Aisle Seat Review of THE CHINESE LADY by Lloyd Suh/ The Pear Theatre

  • The Highlight may be a scene-stealing scene dance duet by Eiko yamamoto and REne Collins as the Whitmans.

    -Charles Lewis III, 48 Hills review of FOLLIES by Stephen Sondheim/ San Francisco Playhouse

  • Eiko Yamamoto as Elizabeth Condell offer more polished performances. Yamamoto'S Elizabeth is the perfect combination of support and playfulness.

    -Otto Coelho (SFBATCC), TheatreStorm review of THE BOOK OF WILL by Lauren Gunderson/ Foothill Theatre Arts

  • Eiko's delivery is so well timed. Some of the lines were only funny because of the way they were delivered. She's a good actress.

    -Broadway with AJ and Sarah review of DISENCHANTED! by Dennis T. Giacino/ 3Below

  • A HIGHLIGHT IS A MELANCHOLY BALLAD "MILLWORK" AND PERFORMED WITH SOULFUL FEELING BY EIKO YAMAMOTO. THE PASSIONATE YAMAMOTO'S WONDERFUL VOICE MAKES SKILLFUL USE OF TERRIFIC CHOREOGRAPHY TURNING THE MIND NUMBING MILLWORK IN TO A SKILLED ART.

    -Vince Mediaa (SFBATCC), VmediArts Theatre Arts Review of WORKING by Nina Faso and Stephen Schwartz/ Palo Alto Players

  • Pitch perfect cast give life to Spector's INFURIATING, MOVING AND COMPLETELY RECOGNIZABLE CHARACTERS. FIVE STARS.

    -Harry Duke, (SFBATCC) North Bay Stage and Screen review of EUREKA DAY/ Spreckels Theatre Company

  • IT'S AT ONCE HYSTERICAL AND EXASPERATING TO WATCH THESE PERFECTLY-CRAFTED, SUPERBLY-ACTED AND ALL TOO RECOGNIZABLE MODERN ARCHETYPES..MEIKO (EIKO YAMAMOTO).

    -Nicole Singley (SFBATCC), Aisle Seat Review of EUREKA DAY/ Spreckels Theatre Company

  • The Six-Person Cast features terrific individual voices, but their divinity is in their collective choral blend.

    David John Chávez - The Mercury News review of DISENCHANTED! by Dennis T. Giacino/ 3Below

  • “The folks who have seen or heard the play so far always comment that it is perfectly cast." -Jerry Lee, Dir. Three impressive and dazzling actresses making their SRT: Eiko Yamamoto as M’Lynn...

    Ledger Dispatch review of STEEL MAGNOLIAS by Robert Harling/ Sierra Repertory Theatre

  • The fairies who have to muster their strength against Hernia are a delight...Eiko yamamoto is pacifica.

    -Chad Jones, Theatre Dogs review of SLEEPING BEAUTY: PANTO by Stephanie Brown and Richard Ciccarone/ Presidio Theatre

  • Rounding out the night’s zany escapades was Eiko Yamamoto as the insane Ernestina. She was over-the-top funny and a real audience favorite.

    -Janet Grant, Tri-City Voice review of HELLO DOLLY!/ Douglas Morrisson Theater

  • Eiko Moon-Yamamoto as the Shogun's Mother delivered a delicious "Chrysanthemum Tea" steeped in comic timing.

    -Wayman Wong, freelance journalist critic, Broadway World Forum review of Sondheim’s PACIFIC OVERTURES / Kunoichi Productions/ Theatre of Yugen

  • "Chrysanthemum Tea," about a mother poisoning her shogun son...are dazzling.

    - Chad Jones, TheaterDogs review of Sondheim’s PACIFIC OVERTURES/ Kunoichi Productions/ Theatre of Yugen

An unforgettable romance set against the sweeping tides of World War II.

Against the backdrop of the Pacific War of WWII, South Pacific blends high-stakes wartime romance with a poignant exploration of social prejudice. When spirited Navy nurse, Nellie Forbush, falls in love with a sophisticated French planter, and a young Marine lieutenant finds himself captivated by an ethereal island girl, their relationships are tested by the prejudices and pressures of a world at war. What unfolds is a deeply moving story about love, courage, and the transformative power of understanding. Featuring a soaring score by Richard Rodgers and Oscar Hammerstein II, including classics like “Some Enchanted Evening” and “There Is Nothin’ Like a Dame,” South Pacific remains one of the most beloved musicals of all time.

Winner of the 1950 Pulitzer Prize for Drama, the original Broadway production won ten Tony Awards, including Best Musical, Best Score and Best Libretto. It is the only musical production ever to have won all four Tony Awards for acting.

“Hawaii is home in the truest sense — not just where I grew up, but the place that shaped how I understand belonging. Playing Bloody Mary has meant something different to me because of that: this is a role born from someone else's imagination of the Pacific, and I've had the chance to bring my own lived connection to that world into it instead. There's a concept in Hawaiian culture, aloha e komo mai — welcome, come in — that speaks to a kind of inclusive belonging I try to carry into every room I'm in, onstage and off. Stepping into this role in 2026 also means stepping into its history: South Pacific premiered in 1949, and revisiting it now is a chance to hold both what the show was reaching for in its moment and what it means to inhabit it with real cultural roots today. This production has felt like a genuine act of reclamation, and I'm grateful to share it with our audiences.”

They know us in ways no one else can—sensing our moods before we speak, offering comfort without judgment, greeting us like we're the best thing that ever happened to them, taking care of us when we’re sick. We choose this love again and again, because the human-animal bond transcends logic and time, offering us something essential: unconditional presence, wordless understanding, and a mirror to our truest selves. Clearly animals fill some irreplaceable need for many people.

Grief Dialogues’ Our Loving Companions, a groundbreaking immersive theater experience that explores the beautiful bond at the heart of pet ownership that is strong enough to propel us through inexplicable loss. Again and again. Through an intimate collection of plays, vignettes, and community moments we explore and  honor why we willingly embrace this bittersweet bargain. 

This is theater for anyone who has ever loved an animal and wondered how something with four paws, feathers or scales can speak to the human heart.

Shogun’s Mother

Pacific Overtures

Kunoichi Productions & Theatre of Yugen

(L) Ryan Marchand

Afong Moy

The Chinese Lady

The Pear Theatre

(L) Joseph Alvarado

photo: Sinjin Jones

 

M’Lynn Eatenton

Steel Magnolias

Sierra Repertory Theatre

(L to R) Olivia Jones, Laurie Strawn, Emily Gatesman, Isabella Chang, Eiko Moon-Yamamoto

courtesy photo

Aviragus/ Posthumus’ mother/ Musician

Cymbeline

San francisco Shakespeare Festival

photo: Neal Ormond

Pacifica, the fairy

SLEEPING BEAUTY:Panto

Presidio Theatre

(L to R) Ryan Patrick Welsh, Ruby Day, Eiko Moon-Yamamoto

photo: Terry Lorant

Jack’s mother

Into the woods

Mountain Play

(L to R) Kevin Singer, Eiko Moon-Yamamoto, Chachi Delgado, Luke Hichman, Grace Margaret Craig

 

Emily Whitman

FOLLIES

San Francisco Playhouse

(L ro R) Cindy Goldfield, Maureen McVerry, Eiko Moon-Yamamoto, Rene Collins

photo: Jessica Palopoli

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