According to the United Nations, an estimated 21,000 children in Gaza have acquired a disability since the beginning of the Gaza genocide in October 2023, with approximately 83% of disabled people in Gaza having lost their assistive devices (wheelchairs, prosthetics), which are often excluded from aid shipments by Israeli authorities. Furthermore, according to the Euro-Mediterranean Human Rights Monitor, autistic children living in the occupied West Bank are often subject to extreme neglect, with reports suggesting the Israeli government is blocking necessary medications from being delivered to Palestinian families with autistic children.

The BDS movement, including PACBI, rejects on principle boycotts of individuals based on their identity (such as citizenship, race, gender, sexuality, or religion) or opinion. Mere affiliation of Israeli cultural workers to an Israeli cultural institution is therefore not grounds for applying the boycott. If, however, an individual is representing the state of Israel or a complicit Israeli institution, or is commissioned/recruited to participate in Israel’s efforts to “rebrand” itself, then their activities are subject to the institutional boycott the BDS movement is calling for.

Throughout history, artists have always played a crucial role in not just fighting the horrors of fascism, but in the development and promotion of new ideas that can influence broader conversations about culture. In that spirit, we stand in solidarity with all artists seeking an end to war, genocide & apartheid in Palestine, and we urge all our fellow theatre organizations to take a stand on the right side of history.

Anthony J. Piccione

Founding Artistic Director of Neurodivergent Plays

Press Contact: neurodivergentplays@gmail.com

This May, Neurodivergent Plays - previously known as the Neurodivergent New Play Series - will present a reading of Swimming Lessons - written by RJ Beardmore and directed by Em Hausmann - at Brooklyn Art Haus, located at 24 Marcy Avenue, Brooklyn, New York, on May 17th at 4:30pm.

Tickets are available at www.eventbrite.com/e/neurodivergent-plays-tickets-1980419719693, with a minimum $17.85 donation for limited in-person seating. Regular updates are available at www.neurodivergentplays.com and on Instagram & Facebook @neurodivergentplays.

In Swimming Lessons, when Arizona reveals to Claire that her sister is a mermaid, they totally have to break out of the psych ward to go find her! Through road trips and ren faires, convenience stores and border patrol, Arizona and Claire reveal what it means to get better, get worse, and do it all together.

“I started drafting Swimming Lessons in April of 2024,” according to playwright RJ Beardmore, stating “at the time, I was very preoccupied with the same questions this play ultimately confronts: how do our attachments to other people shape our stability, and can anyone really have both? Which sounds dramatic, but I think it’s a subconscious undercurrent for a lot of people. These characters are learning how to negotiate a sense of self with a sense of connection. The specific urgency and polarity of that challenge is so reflective of the neurodivergent experience. Swimming Lessons attempts to articulate a simple question that can feel overpowering to anyone navigating cognitive and social differences. Security versus intimacy -- which do you choose?

“I directed a short play of RJ’s in 2025 for Fresh Binder Productions and was really taken by their sort of off-beat approach to a coming-of-age story,” according to longtime Neurodivergent Plays director Em Hausmann. “There’s an uninhibited and playful quality to their writing that really resonates with me! I’ve also always been interested in the whimsy and spontaneity of the manic pixie dreamgirl archetype, but of course I hate the idea of a shallow female character written for a man. Swimming Lessons scratches the itch for eccentric, impulsive female characters while adding depth and realism to them despite their fantastical qualities.”

Ms. Hausmann adds that “there are so many neurodivergent folks working in the performing arts industry, yet so many of us are made to feel like outsiders in this business. In my opinion, the best art comes from true collaboration, where we can embrace each other to create and share stories across our differences. Neurodivergent artists bring unique perspectives to the table that deserve to be empowered and championed.”

Founded in 2023 by autistic playwright and producer Anthony J. Piccione, Neurodivergent Plays - previously known as the Neurodivergent New Play Series - is dedicated to presenting matinee readings on the 3rd Sunday of every month - with seasonal breaks in December, January, July, and August - of plays written entirely by neurodivergent and disabled playwrights (i.e. autism, ADHD, dyslexia, OCD, Tourette syndrome, etc.) as part of a growing resident company of playwrights whose interests and specialties span a wide range of subjects, genres & structural approaches, with each play personally selected from a neuroinclusive resident company of directors. Learn more at www.linktr.ee/neurodivergentplays or by following @neurodivergentplays on Instagram and Facebook.

Press Contact: neurodivergentplays@gmail.com

This year for World Autistic Empowerment Month, Neurodivergent Plays - previously known as the Neurodivergent New Play Series - will present a reading of Love Letters: A True-ly Short Epistolary Romance (Giving Voice to Autistic Nonspeakers - written by Sofia Ghassaei and directed by Jamie Lazan - at Brooklyn Art Haus, located at 24 Marcy Avenue, Brooklyn, New York, on April 19th at 4:30pm.

Tickets are available at www.eventbrite.com/e/neurodivergent-plays-tickets-1980419719693, with a minimum $17.85 donation for limited in-person seating. Regular updates are available at www.neurodivergentplays.com and on Instagram & Facebook @neurodivergentplays.

Love Letters is the first musical play written by an autistic nonspeaker. Its author, 19-year-old award-winning poet, Sofia Ghassaei, has difficulty controlling her speech and body movements due to apraxia, and had no reliable means of communication until age thirteen, when she learned to share her thoughts by pointing to letters on a letterboard. Her one-act play is augmented with original songs by herself and autistic nonspeakers. Two autistic nonspeakers, Melody and Luke, fall in love via email, only to struggle with sensory realities when they meet in person. Love Letters is a universal story of first love - found and lost – and of expectations not matching reality. Five (speaking) actors conjure the world of autistic nonspeakers and their communication aides. The actors playing the aides double as nonspeakers for some songs. With an informal coffee house vibe, performers at times use direct address and may play an instrument.

“I wasn’t always a writer,” says Ms. Ghassaei on her journey as a playwright. “For my first 15 years I was a composer. Lacking a means of decent communication, I spent my lonely hours inventing witty comebacks, poetry I could never share, stories with happy endings, and countless songs. My mind has infinite storage. Once I was taught to spell on a letter board, I was able to transmit my compositions. Having been given a stage to share my Words Unheard made me realize how much people can learn when the lesson is disguised as art.”

According to Ms. Lazan, “I felt immediately drawn to lift these words off the page and help share the inner world of these beautiful, complex characters full of dreams, fears, and love. Love Letters invites us to lean outside our own perspective and witness someone else’s truth, to step into another person’s shoes. For me, that is the heart of storytelling.” She adds that she “grew up familiar with disability and with the understanding that every person holds an entire inner world we often do not see from the outside looking in. It has always felt important to me to help others unlock and share their voice. Storytelling gives us a pathway to explore and understand empathy, connection, and compassion. As someone who found my own voice through creative expression, I am deeply grateful to help bring greater awareness to the inner worlds of non-speakers.”

Ms. Ghassaei adds that she “wrote this play for all Nonspeakers. I hope to reach those who never see themselves on stage or screen and to show people that we must not be denied all the opportunities that others have. This includes romantic relationships, which look different than many, but are still valid. I want the rest of the world to know how we are really all the same, as far as our desire for connection. Nonspeakers are struggling to find their place in the world. We shouldn’t have to settle for a life of loneliness. Once you know we are in here, everything shifts.”

Founded in 2023 by autistic playwright and producer Anthony J. Piccione, Neurodivergent Plays is dedicated to presenting matinee readings on the 3rd Sunday of every month - with seasonal breaks in December, January, July, and August - of plays written entirely by neurodivergent and disabled playwrights (i.e. autism, ADHD, dyslexia, OCD, Tourette syndrome, etc.) as part of a growing resident company of playwrights whose interests and specialties span a wide range of subjects, genres & structural approaches, with each play personally selected from a neuroinclusive resident company of directors. Learn more at www.linktr.ee/neurodivergentplays or by following @neurodivergentplays on Instagram and Facebook.

This February, Neurodivergent Plays - previously known as the Neurodivergent New Play Series - will continue its 2025-26 Season with a reading of Pluck - written by Jan Rosenberg and directed by Daniella Caggiano - at Studio Two at Brooklyn Art Haus, located at 24 Marcy Avenue, Brooklyn, New York, on February 15th at 4:30pm.

Tickets are available at www.eventbrite.com/e/neurodivergent-plays-tickets-1980419719693, with a minimum $17.85 donation for limited in-person seating. Regular updates are available at www.neurodivergentplays.com and on Instagram & Facebook @neurodivergentplays.

Set in the year 2003, fourteen-year-old Cleo and Bea are twins. Cleo can’t stop running away from womanhood. Bea can’t stop running away, period. When we don’t have the words for what we’re becoming, we make up myths instead, in this dramedy about gender identity, dysphoria, twins, and monsters in the age of AOL.

“I had writer's block during [the COVID] lockdown and didn't think I was capable of writing anymore,” says playwright Jan Rosenberg on how she was inspired to write the play. “I literally thought I'd never write another play. Then one night I had a dream about discovering dark, thick hairs on my body that were growing faster than I could pluck them out. That turned into the bathroom scene, which was originally the opening scene of the play. I was forced to examine why the idea of body hair was freaking me out so much, which prompted thoughts about gender identity and presentation, which somehow brought me back to middle school and high school. I have so much love for these characters, particularly Cleo. I think about how Cleo would thrive within a community that understood her. I'd like to think she finds her people, eventually.”

“To me, Pluck really captures the strangeness of coming of age while masterfully balancing horror and whimsy,” according to director Daniella Caggiano. “That’s what my adolescence was like too! There are so many depictions of teenage girls as palatable and consumable, but this is the male gaze and has never felt true to my experience. I’m inspired to direct this play because I see my feral teen self in Pluck in all her monstrous beauty and I want to give her some air time.”

“Discovering I'm neurodivergent is what has empowered me as an artist,” says Rosenberg, explaining that “[f]or a long time, I thought I was doing everything wrong and that there was a better way to be an artist. A better way to write, a better way to structure my plays, a better process. For years (and admittedly, still) I compare myself to other writers and often wish my brain worked differently. What I've discovered is that I don't get to pick and choose. If I eliminate my neurodivergence, there goes everything else. I am creative because I am neurodivergent. I am a playwright because I'm neurodivergent.”

Caggiano adds that “I resent the stereotypes of neurodivergence– the “computer whiz”, the “manic pixie dream girl”, etc.-- because they become society’s default understanding of a huge population and that is reductive at best, harmful at worst. When I was seeking a neuropsych evaluation, even mental health professionals would rely on these outdated tropes to tell me who I was. Imagine being told you are “too successful” or “too empathetic” to be neurodivergent? Furthering neurodivergent empowerment in the performing arts means empowering neurodivergent artists to tell their truth in all its complexity, allowing neurotypical folks to see the multitudes we contain and neurodivergent folks to see ourselves more fully rendered and reflected.”

Founded in 2023 by autistic playwright and producer Anthony J. Piccione, Neurodivergent Plays is dedicated to presenting matinee readings on the 3rd Sunday of every month - with seasonal breaks in December, January, July, and August - of plays written entirely by neurodivergent and disabled playwrights (i.e. autism, ADHD, dyslexia, OCD, Tourette syndrome, etc.) as part of a growing resident company of playwrights whose interests and specialties span a wide range of subjects, genres & structural approaches, with each play personally selected from a neuroinclusive resident company of directors. Learn more at www.linktr.ee/neurodivergentplays or by following @neurodivergentplays on Instagram and Facebook.