Why is co-creation key when making professional theatre for young people and family audiences?

I’ve been asked to write a chapter for a book – or at least, I think that’s the right word. It’s more of a practical 'how-to guide' than a traditional academic chapter, and I haven’t done anything like this in quite a while. In fact, the last time I wrote a chapter for a book was over 30 years ago, back when I was working at the Central School of Speech and Drama. That book – edited by the late, great Sally Mackey – might ring a bell for some of you who studied drama at A-Level. It was called Theatre Studies, and I wrote the section on theatre for children and young people. Apparently, it’s still possible to buy on Amazon - have a look at his link here: although be warned, it may well now be a bit of an archival document more than anything else.

So yes, it’s been a bit of a gap, and it’s taken me a moment to find my way back into that kind of writing headspace. But the first draft is now submitted, and I’ll wait to see what comes back.

What’s been great about the process, though, is that it’s given me the chance to pause and reflect on my practice – especially around co-creation and how vital it is when developing work with and for children and young people.

All good plays tell stories, and all good stories come from collaborative encounters. Yes? So, before a single line of dialogue is written, before a title is picked or a character sketched out, the playmaking journey begins within a framework of co-creation and care – structured, yet flexible. It’s a space where imagination, risk, and emotional safety are held in balance. Here, the development process matters just as much as the final performance. This is especially true in theatre for children and families, where this approach needs to be dramaturgically thoughtful and emotionally attuned. Built on trust as much as on structure and story arcs. It’s about listening before shaping. It’s about making space for the unexpected.

We’re not just telling stories to children – we’re telling stories with them. Their ideas, rhythms, questions, and imaginative leaps are central to the work. And they know when we’re genuinely listening. When we get that right, the space opens up – and the real stories start to surface.

This co-creative approach has been central to my work for years, particularly during my time at Half Moon Theatre, and it continues in my freelance life now. The process is scaffolded by careful dramaturgy, and I’ve been lucky to work on some really rich pieces in recent years – Dust, Ten in the Bed, Hot Orange, Party and Bump, among others. All different, all very exciting. Each one has been developed through long-term collaboration involving research, creative experimentation, and most importantly, ongoing engagement with children, young people and artists. These pieces didn’t arrive fully formed – they were shaped gradually, through curiosity and care.

In the book chapter – I’ll call it that for now - I outline a kind of step-by-step model for co-creation, starting from initial concept meetings and dramaturgical seeding, through early treatments and field research, then into audience workshops, writer development, and structured R&D with actors and creatives. It’s not a fixed formula – it’s a flexible approach rooted in listening, openness, and risk-taking.

At the heart of this way of working is a belief that process matters just as much as product. That play and risk are essential tools. That listening to your collaborators – especially the youngest ones – isn’t just polite, it’s ethically necessary. That co-creation takes humility, responsiveness, and a willingness to let go of control. Dramaturgy, in this context, is about holding space for the unexpected to emerge – not about managing outcomes or showcasing ego.

And that’s really the crux of it: we don’t just make work about children – we make it with them. That changes everything.

You can take a sneak peek at some of the pilot visual diagrams that go alongside the written chapter via this link here.

If any of this sparks thoughts about how my approach might align with your programmes – or if you’re dreaming up a future project and looking for a co-creator or dramaturgical partner – do get in touch. I’m always up for a conversation, especially now in my freelance chapter (pun intended) of life. Drop me a message via this blog or the contact form on this website. I hope to hear from you.

Until the next blog

Chris