Professor of Theatre, Chair, SAMC Theatre
Robert N. Thompson
+1 (604) 888-7511 ext. 3576

Department(s) or Program(s)


Angela Konrad has been part of the Theatre faculty at Trinity Western University for more than 15 years. She has directed many productions here, including The Diary of Anne Frank, The Drowsy Chaperone, Much Ado About Nothing, Romeo + JulietThe Skin of Our Teeth, Pride and Prejudice (with Aaron Caleb), The Importance of Being Ernest, As It Is In Heaven, The Heiress, Two Rooms, The Miracle Worker, and Our Town.  In the fall of 2012, she was dramaturge and director for a devised piece of musical theatre, Picture This! Angela has directed original works commissioned for TWU by grads Krista Knutsen Marushy (The Ristretto Proposal) and Cara Lowdermilk (Bride on Credit). Both romantic comedies were fantastically funny and very successful, selling out every performance. Angela also directed an innovative production of Lucia Frangione's irreverent old testament musical Holy Mo & Spew Boy in which Follie, Buffoona, and Guff were played by different actors in the first and second acts.

Angela directs for Vancouver's Pacific Theatre, a well-respected professional theatre company and arguably the finest theatre with a Christian mandate in the world. For PT, Angela has directed a critically acclaimed production of Arlene Hutton's Last Train to Nibroc; Marsha Norman's Traveler in the Dark; Emil Sher's Mourning Dove, a work inspired by the Robert Latimer story; and Margaret Edson’s Pulitzer-prize winner Wit. Angela won a Jessie Award from the Greater Vancouver Professional Theatre Association for her direction of Craig Wright’s darkly provocative Grace, which also won Outstanding Production and garnered nominations for all four actors.

For Glass City Theatre, Angela directed Stephen Adly Guirgis’s Jesus Hopped the ‘A’ Train, which was nominated for five Jessie awards, winning Outstanding Production, as well as lead actor, and design. Angela directed Evan Frayne’s Alpha for the Vancouver International Fringe Festival, for which she was also Dramaturge, and worked at the Arts Club Theatre as Production Dramaturge on the Pulitzer and Tony award-winning play Doubt by John Patrick Shanley.

Angela is also an experienced arts administrator, having worked with professional dance and theatre organizations, including a position as Assistant General Manager of the New Play Centre (now Playwrights Theatre Centre). She has designed costumes and props, worked as a freelance writer, spent a year exploring the world of advertising and public relations, and served an internship with a Vancouver talent agency.

Believing that it is a gift to live near a vibrant theatre community like Vancouver, Angela sees as much theatre as she possibly can, generally managing at least 50 shows each year. She is particularly fond of theatre that uses physical movement and technical artistry to tell compelling stories.

Angela has an MFA in Directing from the University of Victoria.


Angela is married to her amazing husband Wilf, without whom she would feel far more guilt and see far less theatre. They are proud parents of two strong and talented daughters, Delaney and Franklyn. Their favourite things are enjoying the outdoors, eating fine food, and travelling.

Research & Scholarship


  • MFA Directing (University of Victoria)
  • BA (Northwestern College)

Recent Publications

Angela's principal research interests are acting and mental health, the relationship between faith and art, how directing is taught, and the role of criticism in teaching and performance. Angela has presented papers and led workshops on all of these areas and her article The Christian Call to Criticism, published in Christianity and Theatre magazine, has proven a valuable resource for theatre instructors in the Christian academy.

Affiliations & Memberships

  • Theatre Communications Group (TCG)
  • Association for Theatre in Higher Education (ATHE)
  • Greater Vancouver Professional Theatre Association (GVPTA)


Directing, Acting, Theatre Writing, Acting and Mental Health, and the Role of Criticism in Performance and Teaching