The Brooklyn Rail

Dave Osmundsen explores and manifests Autistic narratives in various genres. From the queer rom-com Light Switch to the family drama More of a Heart to his “Autistic True West” My Brother Jake, Osmundsen obliterates stereotypes about Autistic people. His plays insist that Autistic people be taken seriously; his characters have fight, assert their autonomy, and demand to be seen. There are no withering flowers here. Challenges, yes, but Osmundsen will be damned if any of his creations be condescended to or pitied. 

Often suburban and middle-class like his own upbringing in New Jersey, the settings of his plays expose what was once the American dream, a place where Autistic people suffer under the weight of social expectations and a push to hide. 

Ahead of his New York City professional debut, Osmundsen and members of the cast and creative team of his new play, BUM BUM (or, This Farce has Autism), sat down together to discuss the need for more Neurodiverse narratives.

Harmon dot aut (Rail): Meggan, as the director, what drew you to BUM BUM?

Meggan Dodd: It’s very well-written and very funny. It’s also very emotional and very touching. I thought that the message came through so loud and clear, that everyone, Autistic or Neurodiverse or Neurotypical, everyone has a right to be their full selves.

Dave Osmundsen: The right to authentic Autistic expression appears a lot in my work, but usually in more dramatic forms. I really wanted the challenge of how these might themes manifest in a comedy, particularly a farce, which is very reliant on timing and physicality and other things that people may or may not think Autistic people can do. How can we bring it back to the characters being funny rather than the characters being the joke?

Cassidy Kaye: When I read BUM BUM for the first time, what jumped out for me was the form and function of a farcical quest for autonomy as a person with Autism. That in itself just is hilarious to me, truthfully, because it is almost farcical when you are trying to advocate for yourself.

Jordan Boyatt: What really made me relate to BUM BUM is oftentimes I find myself in situations where I have to follow certain protocols based on what’s socially acceptable. Like dressing in a certain dress code to when you are part of a beach club or even if you have school uniforms. And at times I understand it. Other times I find some of the minor details just a big load of bullshit. It makes me want to scream into a pillow.

Cameron Walker: I really enjoy the exploration of Neurodiverse and Neurotypical relationships, especially how Neurotypical people sometimes mess up as allies to the Autism community. Infantilization is a big issue with Autistic folks, and you kind of see these characters step into their power and really advocate for themselves.

Rail: What have you been learning specifically about physical comedy in rehearsing BUM BUM? Particularly how it relates to Autism?

Walker: How to create physical comedy while also being mindful of people’s sensory issues, and physical disabilities. Finding ways to make it funny while keeping actors safe.

Boyatt: I love the way we’re using physical and even verbal comedy in a way that doesn’t make a joke out of us, at the expense of the Autistic person. Sometimes making jokes out of things we say or things we do is honestly a bit more hurtful.

Gravity: I sometimes do a lot of nightlife. I’ve done burlesque; I’ve done nude performance art. I was only diagnosed in 2019. A lot of my performances are about, like, mental health journeys anyway, because I was told I was very loud when I was a child, and I feel like with my singing, it actually, like, hindered me. Because I held it in a lot, and I didn’t open my mouth. I want to help people let it out. I feel like my character is good, like, mocking the people who said shit to me. So, yeah.

Kaye: I wanted to add that one of the things I think that farce does really well is shed light on ridiculous ableist assumptions. When you call people out through comedy, it allows people to let their defensive guard down. Perhaps people will see the comedy in some of their behaviors, and hopefully adapt and change for the better based on that portrayal.

Osmundsen: Something I really had fun with in the writing of this play was portraying the “Neurotypical” characters as more ridiculous than their Autistic counterparts. I feel like there’s a version of this play where there’s a takeover, like the inmates running the asylum sort of deal. Whereas I feel like this play is like the inmates taking back the asylum.

Rail: What do you hope audiences walk away from BUM BUM thinking or feeling?

Walker: We see three different characters that are all Autistic but in such different, cool, unique ways. Understand that Autism isn’t a monolith, and how important it is to get to know the people in your life on an individual level.

Osmundsen: I agree with so much of what Cameron said. I hope audiences walk away from this play, as with all my work, realizing that Autism is a… I’m going to tweak the term “spectrum” to “constellation”—because constellations have innumerable manifestations and stories as does Autism. It’s also an evolution of EPIC Players’ mission to support Autistic artists by producing new work by Autistic writers. That’s significant, because a lot of disability-centered theater organizations don’t often produce new work that centers disability; a lot of them do canonized work through a disabled lens.

I hope that Autistic and Neurodiverse and Disabled folks walk away from this play empowered to take up space and express themselves authentically, regardless of what people may think. And I hope that everyone else walks away with the idea that it’s not too late to accept and support the Disabled folks in your life; support can begin at any time.