The COVID-19 pandemic disrupted the theatrical landscape, prompting theatre artists to reinvent how they connect with audiences and each other in physical spaces. While research has delved into post-pandemic theatre making, much of this area remains unexplored, particularly concerning young people, how the loss of community has impacted them, and what society can do to help. This thesis investigates how professional directors and dramaturgs can effectively engage young people in theatre making post-pandemic by drawing on three specific productions — Camelot and Camelittle, WROL (Without Rule of Law), and Alice and the Wonderland Parties. Utilizing theories drawn from The Art of Active Dramaturgy by Lenora Inez Brown and Directing Young People in Theatre by Samantha Lane — this thesis examines how dramaturgical collaboration can be implemented to foster community and positive relationships among young participants in the theatre-making process. The research in this thesis argues that by employing dramaturgical collaboration in the production process, young people can form meaningful connections with their peers, combating the isolation experienced during the pandemic. Beyond the pandemic context, this type of collaboration offers young people avenues for deeper engagement with the theatrical text itself. This thesis contributes to the discourse on post-pandemic theatre-making by providing practical insights into cultivating connection and community among young participants. It highlights the importance of dramaturgical collaboration as an enrichment tool in theatre making and fostering meaningful relationships in a post-pandemic world.