THE HEART SELLERS
Scenic design
Amphibian Stage
(Fort Worth, TX)On Thanksgiving Day in 1973, two recent immigrants, Luna and Jane, find themselves far from home, sharing an unfamiliar holiday, a turkey in the oven, and an unexpected friendship.

Taking inspiration from the warmth of an oven, we envisioned Luna's apartment as a cozy, enclosed space where the bond between the two women gradually heats up. The box-like structure sits between two opposing audiences, reflecting the characters' sense of in-betweenness and isolation. Sheer curtains replace solid walls, blurring the boundaries of the home. Warm yellows, oranges, browns, and playful 1970s patterns create an intimate environment where connection and a sense of belonging can begin to take shape.

“And then. Before we are say goodbye. We make plan together. For what we do next Tomorrow.” - Jane

Written by: Lloyd Suh
Directed by: Shyama Nithiananda
Scenic Design: Joyce He
Lighting Design: Aaron Johansen
Costume Design: Jasmine Woods
Sound Design: Josh Nguyen
Properties Design: Rayven Harris, Matti Andrews, Evan Woods
Technical Director: Jeff Stanfield
Photos: Evan Michael Woods












Reviews：

DALLAS VOICE - Review by Rich Lopez
“The production’s aesthetic and atmosphere effectively supported the narrative. Zhousi He’s scenic design looked appropriate for the 1970s yet possessed a timeless quality that avoided distraction. The numerous moving stage pieces, expertly integrated by the Props Design team of Matti Andrew, Rayven Harris, and Evan Michael Woods, complemented He’s vision.”

ONSTAGE NTX - Review by Jan Farrington
“Amphibian Stage’s regional premiere of Lloyd Suh’s The Heart Sellers is that and more—a dazzling, sobering, often hilarious play disguised as a kitchen-sink story set in a nothing-special city apartment. (The stage design, by Zhuosi “Joyce” He, does the job to perfection.)”

PATRON MAGAZINE
“Nithiananda …brings the 1973 setting to life with the help of scenic designer Joyce He and costume designer Jasmine Woods. Their production captures both the aesthetic exuberance of the era, think bell bottoms, Marvin Gaye, linoleum floors, and its underlying contradictions: a time of expanded opportunity but limited support, especially for immigrant women navigating life largely in isolation.”







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