What happens when we make musical theatre with disability at the center, not the margins? The introduction to this special issue of Studies in Musical Theatre explores that question through the insights of scholars, artists, and cultural workers reimagining the form from within Deaf and disability communities. Across academic essays, artist interviews, and field reports, contributors investigate how musical theatre can be cripped-structurally, aesthetically, and pedagogically. From rethinking music itself through Deaf artistry and creative captioning to reexamining canonical works like Oklahoma! and In Dahomey, this issue repositions access as a compositional choice and disability as a dramaturgical resource. Offering theory and practice in equal measure, these contributions show how disability is not simply what we stage—but how we stage it.