When directors in professional Theatre for Young Audiences (TYA) practice inclusive casting, or, in other words, cast an actor with a disability in a role that is not written with a disability, several provocative questions emerge: What are the social implications of inclusive casting? How might stories on stage change due to inclusive casting? What does inclusive casting mean for professional TYA companies and directors? How might performers with disabilities examine their personal and professional relationship to disability when participating in inclusive casting? How might a young audience’s perspective change when inclusive casting is implemented? This thesis examines these questions through interviews with directors, performers, and young audience members. / text