Many people in society cannot benefit from the full value of cultural events if those events are not made available for them to access. While we tend to think of barriers to access as being geographical (the production I wish to see isn't touring to my part of the country) or financial (I'd love to see that production if I could afford the ticket price), people who have sensory impairments - either because of disability or aging - may additionally experience barriers based on lack of support for their access needs. People who have difficulty hearing a theatre production may need captions. People who are Deaf may need sign interpretation. People who have vision impairments may need audio description. Just as people in rural communities can feel excluded from culture as 'it all happens in London, never here', people with access needs may feel that those who create culture do not care whether or not they are excluded from being able to participate in that culture. Responding to this need, and prompted by legislation such as the Equality Act 2010, many cultural institutions have shown interest in making their cultural events accessible to the widest possible audience by making them inclusive. The two organisations at the forefront of providing captioning and audio description services to theatres and live events in the UK are StageText (http://www.stagetext.org) and VocalEyes (http://www.vocaleyes.co.uk). While these organisations collect anecdotal evidence and survey evidence from people who attend their captioned and audio-described events, to date there has never been a rigorous and comprehensive assessment of the cultural value that making theatre accessible to their audiences generates. London Metropolitan University have partnered with StageText and VocalEyes to propose a research study that will seek to answer the following question - What is the cultural value of accessible theatre from the perspective of its two main stakeholder groups: - to the theatres (and businesses around them) that choose to provide captioned or audio-described performances, either to develop new audiences, or to bring former audiences back into the theatre; and - the audiences that those performances are aimed at (both those that choose to attend, and those who do not) We envisage this research providing rigorous evidence for the value of accessible theatrical performance, and of inclusive cultural activity, for a range of stakeholders; supporting the on-going work of organisations like StageText and VocalEyes, and potentially contributing to increased opportunities for hearing and visually impaired people to engage in mainstream culture. It will further contribute to underpinning inclusive practice in the UK; supporting the nation's beacon status in this area. It will also aim to support and contribute to the on-going embedding of inclusion as cultural practice.