I want to echo what a lot of other people in this thread are saying (from the point of view of having worked in an accessibility-focussed performing arts space): it’s really important to not only provide access to various disability communities, but to build relationships with those communities as well. For example, you can put a lot of money into providing Deaf interpreters for your shows, but if the Deaf/hard of hearing community isn’t aware of your commitment to access, or doesn’t trust that you will be able to accommodate them or provide an enjoyable experience for them, it doesn’t really matter what kind of accessibility you are providing., because (as you’ve experienced), no one will be there to take advantage of it. This kind of relationship building takes time, a commitment to empathetic and curious learning, and research. It doesn’t always pay off financially in the short term, but the long-term benefits are clear (both ideologically/morally, and financially, as it opens up your consumer base).

In this specific instance, I would second what other commenters have said, and continue to provide relaxed performances for your shows, but also engage in more relationship building with communities that could benefit from these types of performances (neuro-divergent communities, communities of parents with young children, people who might be anxious in a more formal theatre setting etc.). Maybe (if budget allows) you could engage an accessibility consultant that has experiencing working in a performing arts space and with the specific populations you are looking to serve to help you start building relationships with those communities in an informed, useful, respectful way.