About Brídín

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creative manager 
wedding coordinator

artist citizen
small business owner

Brídín Clements is an NYC-based producer and manager in the performing arts and a passionate advocate for the importance of arts education. Currently, Brídín is Department Administrator in NYU Tisch's Undergraduate Film & Television Department, an adjunct faculty member at NYU Tisch's Department of Drama, and is pursuing a Masters in Public Administration at NYU's Robert F. Wagner Graduate School of Public Service. Brídín also runs a handmade greeting card company in great haste and offers day-of coordination for weddings in the tristate region. 

Brídín recently served as Associate Production Manager for NYU Tisch Drama, a role where she enjoyed teaching stage management, overseeing complex administrative processes, producing events, and being a member of the department's Office of Diversity Initiatives. Other past positions include Special Assistant to the Artistic Director and Executive Director at Harvard University's American Repertory Theater, Regional Field Director for the Paul Clements for Congress campaign in Southwest Michigan, Business Manager for NYC’s premier hip-hop improv team North Coast, Operations Manager at technical production management firm Tinc Productions, four seasons with the New York Musical Festival (NYMF), most recently as Assistant General Manager, and four seasons on the producing team for the contemporary performance festival American Realness. 

Brídín frequently works with the Tony Award-honored gospel choir Broadway Inspirational Voices and volunteers with organizations including Girls Write Now, How To Stand Out Mentorship Program, and the Eugene O'Neill Theater Center. 

Brídín is utilizing her graduate work to study diversity and accessibility in the performing arts. She has published an op-ed about how internship culture creates barriers for young professionals from distressed communities to gain entry to the field, conducted research investigating why theatrical design is male-dominated, created proposals for how to improve gender equity in the industry, and reported on how performing arts education can be made more accessible for students with disabilities.



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To address the gender inequity in theatrical design and more broadly across the performing arts industry, I recommend that producing entities partner with labor organizations to implement transparent and equitable hiring practices, adjust the production schedule, and develop support systems for working families.


If an organization is committed to building a more inclusive, diverse, and equitable industry, the resources are allotted to their internship programs should be a demonstration of these values.


So you want to do a show? Here are a few tips to creating your show's "business plan" and setting yourself on the path to getting it produced.


This literature review synthesizes the existing literature on how performing arts programs within higher education institutions can practice inclusivity for disabled students. It considers two primary areas of research: disability in theatre and disability in higher education. 

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A few questions to consider; for those of us who have never needed to make a video and are now being asked to shift all of our events from live to digital. 


What theaters and productions are doing to making their shows available to people with sensory, social and learning disabilities, beginning long before the audience arrives at the theater.