After making the rare trek across Parker’s Piece (almost out of ‘the bubble’, perhaps not quite), I find myself in a large, bright, very modern rehearsal room. It might seem at odds with a long, complex poem that has often been relegated to what many misconceive as ‘the dark ages’.

It is important, I think, to consider Middle English writing on its own merit, as diverse and varied and unpindownable as writing from any period. The 14th century is not a vacant space simply waiting for a Renaissance or desperately clawing at the remnants of antiquity. And so, in a typically English student way, I worry a little, just for a second or two, when modern adaptations fiddle with language and move too far from the source of a work.I wonder apprehensively if there is a space right for Chaucer in this large, bright, modern room.

Then I come to my senses. I realise that all art is up for grabs, and that this rehearsal space, with all its bustling pre-opening-night nervousness and laughter is exactly the space in which literature comes alive. When I sit to chat with the directors on their lunch break the room is busy with noise, when I’m watching two scenes from the play the space seems as though it has expanded to accommodate their piece; we all become acutely aware of every sound and movement as the group lends so aged a work a fresh, physical form.

Directors Lizzie Schenk and Katie White have been working from Mike Poulton’s RSC adaptation of the Tales, an established rendering of the text into modern English verse. Yet they remain selective and don’t shy away from new styles and textures. While talking to some members of the 14 strong cast I find them open about how intimidating reshaping an RSC production can be. They are  also, however, excited by the prospect of making space in the play for their own, necessarily conflicting, interpretations of the tales.

As they discuss doubling and multiple role playing, Maria Pawlikowska (Friar) and Pete Skidmore (Physician) describe how “it is the lack of complete continuity which makes it interesting”. They create a kind of layering of stories and ideas that, as is the point of the tale-telling, compete with one another.

Along with James Evans (Pardoner) and Kassi Chalk (Prioress) they make it immediately clear that “story telling is the driving force of the play”. The poem is taken out of its comfort zone, rewritten into modern English and staged, while the cast and directors are taken out of theirs as they reconcile bawdy humour with violent, skewed morality. This works much to the play’s advantage as the ensemble cast craft plays within the play, in a show that promises live harp music, opera, puppetry and physical theatre.

The directors explained how they want to create a piece true to Chaucer, Poulton, themselves and an audience of all ages. An ambitious aim, yet it looks like they have every chance of succeeding.