Luckily, the production’s hallmark is an unshowy clarity that lets us digest what’s before us, without being so conceptually confining as to prohibit our thoughts straying towards the state of play in Europe. Having struggled to find a fitting theatrical vehicle in the past, a muscular Harington is in his commanding element here, blokily ordinary with due nobility.

Initially seen woozily staggering into view, then vomiting, in a yobby party scene, transposed from Henry IV, with added rounds of Sweet Caroline, the contrast is built between the playboy prince and his sober, increasingly chilly, regal self, post-coronation. 

The major speeches are smartly handled: an understated indication of the bloodbath to come in reply to the French ambassador’s tennis-balls missive, a rugged rallying cry, high in a gantry, during the siege of Harfleur, a note-perfect account of the critical St Crispin’s Day speech.

Beautiful ecclesiastical plainsong underscores the way institutional piety bolsters self-advancing politics. Employing proper French (with surtitles) for all the French scenes, Webster catches the egotism that propels states into battle, the murky rationale of land-grabs, the pity of war. And – with Millicent Wong bringing a quietly sardonic quality to the Chorus, the usual Act V romantic rapprochement between Katherine of France (Anoushka Lucas) and Henry has a keen, bitter taste as she pulls defiantly away from his proprietorial grasp. Not an all-out triumph but a victory nonetheless. Here’s praying the run doesn’t coincide with all-out conflict.

Until 9 April; Tickets: 020 3282 3808; donmarwarehouse.com