Could targeted inclusion initiatives press Canada's professional theatre community to tap the vast reserve of disabled people disenfranchised by its current practices? In 2015/2016, several long-standing professional institutions dedicated to fostering Canadian theatre joined with Canadian disability theatre artists in order to mark and understand the exclusivity of current practices and innovate in response. In this paper, I compare five such initiatives. Informed by the theoretical work of Carrie Sandahl and Shannon Jackson, I analyse their forms, aesthetics and rhetorical strategies. Why are they happening now and how does each seek to re-energise Canadian professional theatre by extending the franchise to include disabled people?