Bryan Conger

"Featuring a supremely talented cast and ably directed by Bryan Conger, Caroline, or Change is a sometimes exhilarating, sometimes disorienting play that is not easily forgotten."

— Rodger Mullen, The Fayetteville Observer




Bryan is a freelance director who has spent much of his
professional career working in regional and educational
theatre. He has spent the last eight years in North Carolina as an artistic administrator and educator. He served as artistic associate at Triad Stage in Greensboro for five seasons where he directed The Mystery of Irma VepDeathtrapDirty BlondePump Boys and DinettesA Christmas CarolMy Fair Ladytick, tick . . . BOOM! and Billy Bishop Goes to War.

Bryan next served as the interim Artistic Director at Cape Fear Regional Theatre. At CFRT he produced The Little Mermaid, a collaboration between Melissa Rain Anderson and 2 Ring Circus; Intimate Apparel, directed by Khanisha Foster, Baskerville: A Sherlock Holmes Mystery, and Caroline; Or Change, which he also directed.

He has also directed at several venues in NC and some favorite credits include Godspell (Guilford College), Into the Woods (UNCG), and Souvenir (Paper Lantern Theatre Company).

Last year Bryan made his NYC directing debut at the Broadway Bound Theatre Festival with the new play, Skeletons by Amy Da Luz. Up next he is directing Gidion’s Knot at Bartlett Theater in Durham, NC and You’re A Good Man Charlie Brown at Purdue Northwest.

Bryan has his BA in theatre arts from Indiana University Northwest and his MFA in directing from the University of
North Carolina at Greensboro. He has served as adjunct faculty at of the University of North Carolina-Greensboro, Greensboro College, Elon University, and Guilford College.

Successfully scaring someone is a science and an art; it takes a precise manipulation of lighting, sound and suspense to create a feeling of uneasiness. Triad Stage [Bryan Conger] capitalized on all three key components to artfully craft their scare tactic during its opening performance of Deathtrap.
— Lenise Willis, Yes! Weekly