Dubbed “feisty as hell” by the New Yorker and “a great modern American playwright” by Broadway World, Gabriel Jason Dean is an award-winning playwright and screenwriter whose critically-acclaimed plays include RIFT, OR WHITE LIES (Venturous Theatre Foundation Plays for Now Grant Recipient, National New Play Network Rolling World Premiere); IN BLOOM (Risk Theatre Model Modern Tragedy Prize, Kennedy Center Paula Vogel Award, Laurents / Hatcher Award Finalist, Princess Grace Award Runner-Up); QUALITIES OF STARLIGHT (Broadway Blacklist, Kesselring Nomination, Essential Theatre New Play Prize, B. Iden Payne Awards for Outstanding Comedy & Best Original Script); TERMINUS (James Tait Black Prize Finalist, B. Iden Payne Awards for Outstanding Drama & Best Original Script, Austin Critic’s Table Award Best Production, PlayPenn) HEARTLAND (National New Play Network Rolling World Premiere, InterAct 20/20 Commission, Austin Critic’s Table David Mark Cohen New Play Award, B. Iden Payne Award for Best Original Script, PlayPenn), ENTANGLED (co-written with Charly Evon Simpson; New York Innovative Theatre Award Nomination Best Full Length Script), THE TRANSITION OF DOODLE PEQUEÑO (American Alliance for Theatre & Education Distinguished Play Award, Kennedy Center TYA Award, New England Theatre Conference Aurand Harris Award); and others. He has written book and lyrics for the musicals MARIO & THE COMET (NYU Plays for Young Audiences) and OUR NEW TOWN (Civilians R&D Group). His TV Pilot, WE BELONG was a Humanitas New Television Writer Award Finalist. His plays have been produced or developed at places such as New York Theatre Workshop, Manhattan Theatre Club, McCarter Theatre, The Cherry Lane Theatre, Araca Group, The Lark, The Flea, The Civilians, Oregon Shakespeare, The Kennedy Center, The Amoralists, Geva Theatre Center, Luna Stage, PlayPenn, Interact, The Playwrights’ Center, Davenport Theatrical, Stage Left, The VORTEX, Theatre [502], Aurora Theatre, Seattle Children’s Theatre, Dallas Children’s Theatre, People’s Light and Theatre, Dad’s Garage Theatre, Actor’s Express, Horizon Theatre, Source Festival, Essential Theatre, the Illinois Shakespeare Festival and others. Gabriel received the Hodder Fellowship from Princeton University, Dramatist’s Guild Fellowship, and the Sallie B. Goodman / McCarter Theatre Fellowship. His scripts are published through Samuel French, Dramatic Publishing, and Playscripts. He is an Assistant Professor of English Literatures and Writing & Theatre at Muhlenberg College, an Affiliated Writer at The Playwrights’ Center, and a Usual Suspect at New York Theatre Workshop. MFA: UT-Austin Michener Center for Writers. He grew up in Chatsworth, GA, a mill town in the foothills of the Appalachian Mountains.

Lily Wolff is a British-American theatre director and new play nerd. She is thrilled to be back at Amphibian after directing the world premiere of Katie Bender’s Instructions for a Séance last season. Formerly the literary manager at Alley Theatre in Houston, Lily worked passionately on the Alley All New initiative from 2018-2022 until she relocated to Philadelphia with her family. As a freelance director and dramaturg, Lily most recently directed a reading of Tea Alagíc’s Zero Hour, based on the playwright’s real experience of fleeing the Bosnian War, in the Alley All New Festival, as well as a workshop production for Chautauqua Theatre Company of Hilary Bettis’ Falcon Girls, a coming-of-age memoir play set in 1990’s Falcon, Colorado, a love letter to rural girls and the horse who saved their lives. After Rift, Lily heads to Houston to direct the Regional Premiere of Danny Tejera’s Toros at Rec Room Arts, a play about Third Culture Kids (such as herself) in a garage in Madrid, chain-smoking, listening to DJ mixes, and trying to figure out what to believe in. As a dramaturg, Lily has worked for Alley Theatre, the Contemporary American Theatre Festival, Cornerstone Theater Company, New York Stage and Film, and New Georges. She was a consultant and administrator for the 2024 Terrence McNally Award at Philadelphia Theatre Company, and has served as a reader for the Susan Smith Blackburn Prize and the Playwrights’ Center. In the UK, Lily has directed at the Edinburgh Festival Fringe, Theatre503, Battersea Mess & Music Hall, a hilltop on a Scottish island, and on several boats on the river Thames in London. International: Mrs President (world premiere: Edinburgh Festival Fringe). Regional: Instructions for a Séance (world premiere: Amphibian Stage), Wolf Play, Hurricane Diane (Rec Room Arts), The Oresteia (University of Houston), From White Plains (Thunderclap Productions), The Madres (NNPN Rolling World Premiere: Shrewd Productions), A Bright Room Called Day (Southwestern University), Cry It Out (Theatre en Bloc), The Effect (Capital T Theatre), Lungs (Hyde Park Theatre), Gidion’s Knot (Capital T Theatre). Awards: “Best Direction” Austin Critics Table Award. Lily is a graduate of The University of Texas at Austin, the Royal Central School of Speech and Drama, and Pandemic Parenthood.

Leah Mazur, MFA University of Kansas, is a multidisciplinary scenographer (scenic/lighting/costume designer) and visual artist based in the DFW metroplex. Her research explores the blurring of lines between experiencing and becoming performance, the intersections of interactive installation and performance art, as well as the integration of XR (extended reality) into the performing arts as a means of accessibility and expanded storytelling. She is an active designer with both national and international profiles, focusing on the development of new works and the foregrounding of femme voices and predominately women/femme- led production teams.
Select credits include productions at Spinning Tree Theatre, Unicorn Theatre, Kansas Repertory Theatre (Kansas City), Lake Dillon Theatre Company (Colorado), Cape May Stage (New Jersey), Anacostia Playhouse, Scena Theatre (Washington D.C.), Amphibian Stage, Theatre Three, Altar’d Playhouse, SheDFW, Stage West, and Circle Theatre (DFW), Art Haus (New York), RuPaul’s Drag Con (Los Angeles), and Edinburgh Fringe Festival (Edinburgh, Scotland). Upcoming projects include work at Undermain Theatre, Dallas Theatre Center, Circle Theatre, and Second Thought Theatre.
She is currently head of the Design & Technology BFA program in the Department of Theatre Arts and Dance at the University of Texas at Arlington.

Katelyn Jackson is thrilled to be working with Amphibian Stage for the first time. She’s still newish to DFW, but you may have seen her work onstage recently in Sweeney Todd at SMU, Athena at Undermain, Mr. Burns: A Post-Electric Play at SMU, Beyond the Yellow Wallpaper at Echo Theatre, No Child… at SMU, or No Man’s Land at Undermain. Last summer she was the Costume Design Fellow for Chatauqua Theatre Company in Chautauqua, NY, and this spring she will graduate from Southern Methodist University with her MFA in Entertainment Design.

Adam Chamberlin (Lighting Designer) is thrilled to be returning to Amphibian Stage Productions. He is the managing director of theatre production and associate professor of lighting and sound design for the Department of Dance and Theatre at the University of North Texas. Previously, he has taught as an assistant professor for the dance department at Virginia Commonwealth University. He is currently serving on the Leadership of the Lighting Commission for the United States Institute for Theatre Technology as awards coordinator and poster session co-coordinator. Previously, he has held the positions of vice-commissioner of special projects and light lab designer. He has designed lighting for companies including The Latin Ballet of Virginia, Shakespeare Dallas, Oklahoma City Rep., One World Theatre, Stage West, K-Dance, Kitchen Dog, and WaterTower Theatre. He was a founding member of Dysfunctional Theatre Company in NYC and Amaranth Contemporary Dance in Richmond, VA. In addition, he is a founding member of the Beyond the Sock Puppetry. He holds an MFA in theatrical design from the University of Texas at Austin.

David Lanza has been sound designing in DFW for some time now, is excited to still be sound designing, and looks forward to sound designing more in the future. He also loves the Phibs always and forever. Pro-tip: eat half of your cookie now, and save the other half for a late night snack after the show. Follow David Lanza Audio on Facebook or go to www.DavidLanzaAudio.com to learn more. I might also have an Instagram, but I’m not sure. Or look up my LiveJournal I had in high school. Love to Nikki, Maggie, Peter, and the Oxford comma.

Jeff Stanfield is a graduate of Texas Christian University. After spending eight and a half seasons with Dallas Children’s Theater, he is pleased to have returned to Fort Worth with Amphibian Stage. You may have seen him on stage under the open Texas sky at the Hip Pocket Theatre in such productions as Love Letters to a Raven, Loop the Loop, In Watermelon Sugar, The Lake Worth Monster and Don Quixote.

Kaitlin Hatton is excited to be working with Amphibian Stage again! Recent stage management includes What The Constitution Means to Me, Sherlock Holmes, Marjorie Prime, Handle With Care, Between Riverside and Crazy, Witch, On The Exhale (Stage West), Handless King, Baba, Spaceman, The Hollow, Egress, Hans & Sophie, She-Wolf, Gutenberg! The Musical!, Babette’s Feast, Lonely Planet, and Artist Descending A Staircase (Amphibian Stage Productions), I’m Proud of You, The Other Josh Cohen, Tiny Beautiful Things (Circle Theatre). Recent props designs include Little Women, La Boheme, La Medium (FW Opera), The Persians (Undermain Theatre), Ann (WaterTower Theatre), Instructions for a Seance, Baba, Spaceman, Marie Antoinette (Amphibian Stage Productions), Kodachrome, Fences, Young Frankenstein, An Empty Plate in the Cafe du Grand Boeuf, The Glass Menagerie, The Last Wide Open, and One Man, Two Guvnors (Circle Theatre). Kaitlin holds a BFA in Theatre – Design and Technology from Texas Wesleyan University and teaches Stage Management there. She is a member of Actors’ Equity Association and received the 2019 Live Theatre League Bill Garber Young Artist Award.