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British actress Clare Perkins remembers watching an episode of “Aerial America” (a TV series on the Smithsonian Channel) that featured Massachusetts. “I said that I wanted to go there,” she said. “I love coastal cities and old buildings. … I’m really excited to finally be coming to Boston.”

Smith has modernized the tale while keeping the lead character closely connected to Chaucer’s original text — “The Wife of Willesden” makes its stateside debut at the American Repertory Theater Feb. 25 to March 19.

Zadie Smith offers a guide to the North West London language at the heart of the play.

Perhaps authors keep returning to the Wife of Bath because, like Falstaff, she is herself a brilliant storyteller; she offers a space for thinking about the meaning of authorship, about who gets to tell stories, about whose stories get told.

Rosen also asserted that the production “really feels like magic.” That estimation is no hyperbole.

Jared Bowen dropped in on rehearsals ahead of its North American Premiere at the A.R.T. to sit down with the creative team behind this production, which he has described as a work of magic that “comes to life in the most vivid way.”

“Geoffrey Chaucer” is an unlikely name to find in the vanguard of the digital humanities, but there’s an unheralded story that puts him there, thanks to a Harvard professor’s labor of love.

A psychological thriller, it dips into theology—what we believe in—and fantasy—what we believe is real.

We showed up on the first day of rehearsal prepared to be amazed. And we were…There was the kind of electric feeling in the air that you get when you know that every single person present is absolutely necessary to tell the story.