Iranian theatre has long been a fertile ground for interrogating issues of gender and women’s rights. Strains of these conversations are embedded within Iran’s pre-Western theatrical forms, then they were taken up as central themes by the country’s “Golden Age” of playwrights in the 1950s-70s, and they are at the heart of much of the work by Iran’s first post-revolutionary generation of writers (Mohammad Charmshir, Hamid Amjad, Mohammad Rahmanian, etc.). Strangely enough, despite this continued infatuation with critical discussions about gender and women’s rights in the Iranian theatre, very little space has been given in these conversations to the thoughts and work of female-identifying artists. Directors like Pari Saberi and Manijeh Mohamedi are the rare exceptions to the rule, but female playwrights in Iran have struggled to attain a similar level of cultural capital. Over the past ten years, Naghmeh Samini has been at the forefront of a growing movement of Iranian women playwrights, and her work has paved the way for female-driven theatrical narratives that actually emerge from female voices. With the viral success of her television series Shahrzad, she has become a major figure in the Iranian entertainment industry, but her stage work continues to ponder Iranian womanhood on a more intimate level. This paper interrogates the work of Naghmeh Samini, with special attention paid to her latest play, Bacheh. The piece tells the story of three women—one Kurdish, one Afghani, and one Libyan, all named Mina—who are being interrogated by an immigration officer regarding their alleged relationship to a newborn baby in the encampment. All of the women deny giving birth to the child, and they tell stories of their tumultuous journeys getting there. With this play, I argue that Samini locates womanhood in relation to maternalism, but advocates for a narrative of women’s rights outside the bounds of one’s connection to bearing children (and what’s more, one’s racial identity as Iranian). In doing so, she turns the performance event into a utopic space where categories of otherness are challenged, allowing for a radical reframing of who qualifies as an Iranian citizen.