What a challenge! Taking eight tales, written in Middle English poetry and adapting them as modern stage plays is difficult enough – but then directing a 16-strong cast who between them play the Canterbury pilgrims, story-tellers and characters is an absolute feat – so step forward Gwen Stevens who took all this on and produced a lively, hilarious and wonderfully envisioned evening of entertainment.

Kudos too to all the actors who took on multiple roles through the evening, led by Paul Stevens as Geoffrey Chaucer and Steve Taverner, suitably named for the role of innkeeper. For those unfamiliar with The Canterbury Tales, written of course by the real Chaucer in the 14th Century, a group of pilgrims travel from The Tabard Inn in Southwark to Canterbury, each telling a story in turn to keep up morale on the long journey, and Chaucer uses this as a framework to relate 24 individual tales -more were planned, but he inconveniently died before finishing the work.

Avoiding the complications of the journey details, Gwen’s production is set in the Tabard Inn, with the clever premise that they have returned from the pilgrimage and the innkeeper, having promised the prize of a free dinner to the teller of the best tale, has a shortlist and wants to hear eight of the tales again. Gwen has also selected the tales to feature very carefully – she has discarded the dull, moralistic stories in favour of the more entertaining – and ribald – ones, and she’s not afraid to shy away from the frankly X-rated nature of some of the stories.

Yet there is nothing here that could cause offence. Yes, a child might ask what those two are supposed to be doing up a tree… but an age guidance on the publicity covers that. And all the naughtiness is far more silly than steamy, thanks to the imaginative direction. Indeed, the whole intention of the show, like the original tales, is to entertain and have fun. And fun there certainly is in abundance: the original tales hold their own for humour 600 years after they were written, because they deal with human frailty – and idiocy – and often the lusts of young men – and women. Extra humour is added in the panto-style presentation, with wooden hobby horses masquerading as knights’ steeds, and an actor holding a small branch indicating he is in a tree – or indeed is a tree!

Some splendidly over the top acting in places contributed to the fun atmosphere: notably Joel Leverton leaping across the stage in about three bounds as an amorous lover (Joel’s reactions to the situations his characters found themselves in quickly resulted in laughter as soon as he stepped on to the stage!); Philip Barker’s cartwheeling arms as he explained to his love how much he adored her; Amanda Gregory’s wonderful reactions as she was wooed away from her husband – and then tried to get out of the pact she had made; Ruby Beaman’s fabulous facial expressions as she endured the amorous attentions of her old husband – Steve Taverner’s leering, grinning, lechery as the husband was a delight; and Karl Whitmore’s brilliantly funny portrayals of a god, a sinister magician and…a cockerel.

Yes, you read that right – and the tale of Chanticleer and Pertelote was one of the highlights of the show, including a song performed by Karl and his ‘hens’ – Amanda Gregory, Anne Walpole, Carolyn Ferguson and Claire Fussell – all of whom pecked and clucked their way through the scene perfectly. Joel Leverton’s turn as the evil fox was amazing too! But the overriding impression was of teamwork – when not actually involved in the story, the cast became pilgrims happy to watch the tale, heckle and drink the landlord’s ale, providing a realistic background.

Lighting contributed to the atmosphere, especially in the bits involving gods and magicians, as well as night time scenes, and the simply but cleverly designed set, with the backdrop of the Tabard Inn including a well-used (and thankfully curtained!) window, and just a few benches, moved by the cast as needed, allowed for seamless movement between the different tales.

It is clear that a huge amount of work has gone into this production, so it was good to see and hear the appreciation and applause at the end of the show, which indicated how much the audience – including me – enjoyed The Canterbury Tales. Congratulations to all involved.