On Journey’s End:


“Anxiety boils under the surface instead, made notably manifest in Uldarico Sarmiento's smart, visually textured scenic design.”

                                                                                                              Liz Cook/The Pitch


Uldarico Sarmiento’s design for the dugout is an impressive piece of work

                                                                                  Robert Trussell/The Kansas City Star


“The World War I centennial has been marked all year with memorials, but Kansas City Actors Theatre’s local commemoration stands out for its rock-solid, humanizing production of R.C. Sherriff’s alternately gritty and genial Journey’s End. (...) A furious final scene plunged us into the trenches with them (thanks, in part, to Uldarico Sarmiento’s clever scenic design).”

                                                                        Best of KC 2014 - Critics Choice/The Pitch


On How To Succeed in Business Without Really Trying:


“Uldarico Sarmiento hits a home run with his impressive scenery that captures the imposing and impersonal nature of the workplace. Massive shifting panels take advantage of the size of the Rupel Jones Theatre stage to create a daunting atmosphere, while weirdly angular doors built into the panels sustain the show’s whimsical and ironic tone.”

                                                                                                   Dusty Sommers/The Daily


“Even among such universally good work, the set design deserves special praise. The huge sets make full use of the space, creating a sense of scale that really sells the illusion of being in a high-rise office building. Colorful and evocative of the architecture and interior design of the 1960s, the Wickets building becomes a character itself: eccentric, entertaining and a delight to watch in its own right.”

                                                                                             Eric Webb/Oklahoma Gazette


On Baby:


“the set is perfect for the size of the Weiztenhoffer Theatre, and allows the characters to have their own space in the audience, even though they were sharing the same simple space in the set”

                                                                                                           Sarah Dorn/The Daily