My dissertation, “Cripping Broadway: Neoliberal Performances of Disability in the American Musical” is the recipient of the 2017 ASTR Helen Krich-Chinoy Dissertation Fellowship. In this project, I use crip and queer theory as an analytic to explore the historical evolution of the Compassion Musical, a late twentieth and early twenty-first century form which dramatizes structures of sympathy for the seemingly faulty embodiments that result in individual and social deterioration of disabled protagonists. Many characters in this burgeoning genre are disabled in a pronounced way. These musicals structure a type of sympathetic or compassionate feeling for rather than empathy or association with the disabled subject onstage. This move is counterintuitive to the audiences’ own increasing commoditization as productive citizens under neoliberal late capitalism; just as the audience-consumer finds her/himself pushed towards hyper-capable versions of themselves through various technologies that augment economic and social labor, so too are performers progressively prostheticized in their stage portrayals of disability. “Cripping Broadway” unpacks tropes of disability representation by able-bodied actors playing disabled roles—a mode of performances called cripping up, crip-face, disability drag, and cripcature by various disability rights activists, performers, and scholars. I argue that by performing the “disabled body,” triple-threats (actors multiply talented in acting, dancing, and music) approximate deviancy through the spectacle of their extraordinarily able-bodied performances. In other words, there is a prosthetic relationship between theatre’s embodiment of disabled characters and the acting bodies they employ to inhabit such nonnormative materialities. This study intends to query this paradoxical exclusion in the midst of a seemingly inclusive moment in contemporary theatrical history.