PRIME Youth Theatre has never exactly played by the rulebook but handing over the reins for its 30th anniversary production, script, sets and all to a phalanx of rookie teens surely takes the biscuit.

Short of director Aaron Parsons observing rehearsals from a safe distance, occasionally suggesting tweaks or offering notes, the cast and crew - armed with wooden spears, ready to tackle a pivotal scene – are left to their own devices on a dull Wednesday evening, bouncing off ideas and fine-tuning their modern adaptation of The Odyssey.

“We wanted to be loyal to the original story,” explains co-writer and actor Ellis Evason confidently, leaning forward to be heard over the hullabaloo of rehearsal. “Everybody knows the Odyssey and it was a huge responsibility,” adds the 16-year-old with a shy but unmistakeably proud smile.

“The tricky part was making it modern but make sure we put everything in the right place – it’s a complex play,” agrees fellow scriptwriter and performer Erin Fletcher.

Discussing the past six months of creative drudgery like seasoned professionals - from the intricacies and pressures of revisiting one of the oldest and most enduring epics since time began, to collaborating with a dozen writers to produce a cohesive piece - they are miles apart from the clichéd ego-fuelled wannabe thesps so many drama schools churn out.

Their eagerness to take charge, infectious enthusiasm, and willingness to accept criticism shows maturity far beyond their years.

Uncovering hidden talent and initiating new generations into as yet inaccessible facets of the industry at amateur level is the reason Prime veered away from straight acting training to offer writing workshops, design and technical mentoring.

But shadowing the experts or penning dramatic scenes from the comfort of the studio was not enough for Prime artistic director Mark Powell and associate director Aaron Parsons. On the eve of the troupe’s 30th anniversary celebration, they challenged students to collaborate on a full-scale production of The Odyssey, reimaging Odysseus’s fraught homeward-bound journey for a contemporary audience. More than 30 actors, technicians and writers aged between eight and 19 picked up the gauntlet - supported throughout by a professional team.

“Not everyone wants to be an actor or stand on a stage but many of them have amazing talents they want to share," explains Mark. "We want to give them a chance to experience every aspect of theatre, to find something in theatre that excites them."

Aaron adds: “It’s the first time they have influence over everything. A lot of them want to do to it professional and my MO is to give them a platform to find out what they want to do and what to expect. It makes every aspect of theatre tangible. Here they learn what discipline is, what the challenges are in a safe place. This is celebrating how clever, funny and funny they are. They are so committed; it’s incredible.”

Set in an alternative universe where war has eradicated technology, it draws on Odysseus and his forsaken wife Penelope’s plight to tell a modern story of loss, perseverance and love amid the ruins of a pointless conflict. Although sombre in tone, the play is sprinkled with heart-warming episodes and much-needed comic relief.

Cobbling together a witty yet engaging draft capturing the essence of the Odyssey in just two weeks was no mean feat. But Ellis, Erin and the writing team turned in 18 scenes with plenty of time to spare. Rehearsals began in April and they have not let up since, smoothing over niggles and ensuring a swift pace and seamless transition between individual tableaux.

Reimagining entire tête-à-têtes between Penelope and her suitors or dreaming up rib-tickling scenes featuring our hero’s pig-headed rank and file from the confines of their bedrooms was all and well good. The prospect of releasing their work into the world and facing potential criticism and a barrage of edits was another matter altogether.

“I can get quite anxious but I’ve learnt to get over it,” confides Erin, who attends Commonweal School. “You have to give your writing to people to perform and you can’t sit there and worry whether it’s not good enough. What you can do is get their criticism and grow as a writer and performer.”

Ellis, who like Erin will hang up his writer’s hat to take centre stage in various supporting roles in the show, cuts in excitedly: “Seeing everything come to life is great. What was very special for me is that I was able to write for people I know every well. It was quite personal.” He pauses before adding mischievously. “You can be nice or throw some challenges at them, like make them cry on stage.”

Thankfully, egos and histrionics were left firmly at the door, and over the past few months of rehearsals, scenes have evolved organically to form a homogenous whole.

“The writing is so on point,” gushes Georgia Scott, 14, who plays Felicitees, Odysseus’s wayward second lieutenant. “We all respect the fact that the writers worked so hard on it and we all want to be the best we can be. Everyone loves the words they speak.”

As the rehearsal reaches fever pitch – the actors bellow deafening war cries as the Cyclops claims another life – Erin and Ellis steal curious glances at the performers, keen to see how their words are playing out.

“It’s your work and not your work,” muses 13-year-old Erin, from Old Town. “They’ve made it their own. It’s really nice when it goes well, to see them celebrating your writing, using it.”

There is no denying the ambitious team have a lot riding on the success of the first student-led production in Prime’s illustrious history. Not only do the gung-ho bunch have a reputation to uphold but they plan to set the standard for decades to come.

“I desperately want it to be good,” says Erin, clasping her hands to her chest beseechingly. “Everybody here is so brilliant but sometimes I wonder, are we all going to be brilliant in it? I want to make sure everybody’s talent is shown; as a writer that’s a big responsibility.”

All talk of jitters aside, they are cautiously confident their version will find a receptive audience and, with a little luck, show up future projects.

“We have to set the bar really high,” booms Georgia. “So nobody can top us.”

The play runs from July 21 to 23 at the Swindon Arts Centre. Tickets are £12.50. To book call 01793 524 481 or visit swindontheatres.co.uk.