Ryan J. Haddad has schooled me on how accessibility pertains to the entire audience, and not solely those who “need” such devices. 

A basic example is how open captions provide a textual safety net to double check line deliveries in search of annunciation.

But other accessibility measures can enter into a more layered conversation with the production. 

At my performance of Jon Fosse’s A Summer Day at Philadelphia’s Wilma Theater (dear New York: produce Jon as frequently as Bob), I sat next to a woman wearing a headset that orally described every visual change in the staging. 

Now, stodgy audiences may be annoyed by this aural distraction. BUT, every audible utterance indicated which elements of the staging the production deemed essential, prompting consideration of the importance of this movement, and the meaning added to the whole.