CLAY WILD MUNLEY (they/he/she) is a fiercely inventive, non-binary, interdisciplinary artist, deviser, and intimacy director whose work blurs the boundaries of movement, queer embodiment, and theatrical invention. Based between Brooklyn and New Jersey, Clay conjures experimental and absurdist worlds that place gender-queer bodies and radical intimacy at the forefront of narrative. Their trajectory is underlined by both institutional recognition and high-visibility press. Clay’s productions and accolades have been featured in The New York Times, Broadway.com, and Howlround Theatre Commons. Their academic research in intimacy direction, queer performance, and devised theatre earned them the “Excellence in Interdisciplinary Studies” award from The Society of Fellows in March 2025 and a recipient of The Denis Diderot Grant within The Chateau d'Orquevaux Artists and Writers Residency for March 2026.

Professionally rooted in major New York theatre institutions, Clay has assisted productions at Off-Broadway venues including The Tank, Dixon Place, and TheatreLab. They’re a graduate of Pace University and the Institute of the Arts Barcelona with two liberal arts degrees in Theatrical Directing & International Performance and Women’s & Gender Studies. Clay also holds an Artist Consent Certification through IDC Professionals NYC and a Stage Combat Certificate from the Society of American Fight Directors—further underlining the safety-forward, collaborative ethos at the heart of their work.

They’re a writer, production assistant, and creative director for music videos, Primadonna Zine, and HU Zine & Magazine. They’ve interned on “The Watch” for The New York Neo-Futurists and were the assistant director and writer to Emil Weinstein (A League of Their Own, Becoming Eve, The L Word: Generation Q). They’re currently a Host for The Second City and a Front of House/Production Assistant for Broken Box Mime. Whether producing, directing, devising, or stepping into the role of intimacy director, Clay brings a bold, queer-first sensibility, a commitment to embodied storytelling, and a willingness to rethink theatrical form. Their work invites audiences not just to watch—but to feel differently.

Select credits include: Lesbian Bigfoot! (The Tank), [seapony] (Dixon Place x Brooklyn Arts Exchange) AN ENBY'S GUIDE TO CLOWNING AROUND! (Dixon Place Hot Festival 2025), THE FREAK FEAST! (bkONE’s Total Theatrical Takeover 2025), THE ROCKY HORROR PICTURE SHOW! (Father Knows Best) MOTHER EARTH, LET ME BLOOM! (The International Human Rights Art Festival 2024), M4M (Rogue Arts x Purgatory) and Walls: Chloe’s Story (The Tank). PUSSYSLUDGE (Schaeberlie Studio Theatre), THE GREAT AWAKE by Julia Armfield (Pace University), GHOST PLAY by Persephone Erin Hudson (Mabou Mines). 

www.claywildmunley.com | @claywildmunley