R&D is about questions, not answers

For us at Middle Child, research and development periods (R&Ds) are a vital part of our creative process. They’re a space to play, experiment and discover before stepping into rehearsals.

They’re where we test ideas, ask big questions and start to uncover the heart of the show. As a new writing theatre company based in Hull and a resident company of the National Theatre, we’re committed to this view of R&D.

R&D as a creative playground

But across the industry, the position of R&Ds in the creative process has shifted. Increasingly, they’re less of a playground and more of a pitch. They’re like an audition to test whether an idea is good enough, commercial enough or ready enough to justify a full production.

When R&Ds become about proving rather than exploring, the room for risk shrinks. Mistakes feel dangerous rather than useful and bold choices become harder to make.

And I get it. Budgets are stretched and trying out ideas before committing to a production is a way to reduce risk. We feel that pressure too, especially when inviting potential partners in. The temptation to present something slick is intense.

We work hard to protect what R&D means for us: a space for curiosity, not certainty. Here’s how we get the most out of it artistically.

Theatre is a live art

We always encourage artists to get a show on its feet as soon as possible, so it becomes a living thing rather than just a text. In my role as literary manager, I read a lot of scripts; I like to think I can see how a play will come off the page.

And yet, still, every time I see a play the first time, there is a moment where I realise: “Oh, it’s obviously that!”  Because actors flesh out a writer’s ideas enabling us to quickly see what sounds true and what doesn’t. Those moments you thought needed dialogue can become a quick glance from one character to another.

Theatre is collaborative

One of the best things about R&Ds is bringing multiple voices into a room to shape the piece.  At an R&D during the summer for Isabelle – by Marc Graham at the National Theatre Studio – in the room were the writer, director, five actors, a designer, composer, stage manager, four young people and two members of staff from the Warren Youth Project in Hull.

When you’ve worked on a script for a while, fresh perspectives open your eyes. Populating your R&D with creatives, who can spark and challenge, with care and attention, is the key to a good process. And if you think Middle Child is lucky to have all those people available, then you’re right.

The support of the National Theatre has made that possible and, if I’m honest, we could not do R&Ds at that scale without them. That doesn’t make them less valuable but, as I mentioned above, arts funding is broken.

Theatre exists for an audience

For a company the size of Middle Child that gets perhaps two previews before opening night (if we’re lucky), being able to share a rough version with an audience is invaluable.

In 2024 we launched Fresh Ink, a new writing festival based in Hull, where we share rehearsed readings of in-development scripts with the public. This platform not only invites audiences into the process, by sharing thoughtful written feedback, but also gives creative teams the chance to observe people leaning forward as one, or starting to get a bit fidgety, which can teach you so much about a play.

Honesty with an audience is vital here. They need to know what stage the work is at, to protect artists from being exposed by sharing early, unfinished work. Get it right though, and you can earn amazing audience buy-in. The number of feedback forms we receive from people saying they can’t wait to see a full production underlines how much audiences value being included in the process.

Beware the pitfalls

Getting the timing wrong can be a nightmare. Do an R&D too late and you can open doors you thought you had closed, with little time left to explore them. Overwhelm is another. Everyone has ideas; they’re all great and some of them contradict each other, so how do you navigate that?

Ensuring the person that has to continue the work after the R&D – often the writer – is able to leave ideas aside is very important. As is being clear what you want out of the process in the first place.

There is no revolutionary approach here – you will probably not be surprised by all this. But I guess what I’m asking is: can we make R&Ds more about discoveries we’ve made during the week, and less about a Friday afternoon sharing in a sweaty studio?

That responsibility doesn’t lie with artists; it falls on organisations to back artists and understand that, in giving them space to explore, you want them to get a little lost because you never know what creative solutions they will come up with in response.

And isn’t that the most exciting thing we can do?