The chapter of medieval history begun last week was spun and woven to its completion this week.

But it’s not over yet. The two Henrys play until August 13 and if you’ve the stamina, there are days when you can see both in succession.

Although following the plot requires some concentration and it is wordy, Peter Hall’s direction is, as ever, makes all crystal clear.

The complex relationships between the Dukes and noblemen and who is on which side and when, flesh out an already fascinating chronology of English history.

And in these plays we have the contrast between the debauched tavern life of Sir John Falstaff and his cronies and the deadly serious business of Henry IV fighting to retain his crown.

Desmond Barrit as Falstaff dominates the stage, almost to the point of rendering his companions superfluous. But not quite.

Tom Mison subtley matures from irresponsible youth to King in the course of the action.

He and David Yelland (Henry) share a poignant and memorable scene which begins as a father-son row on Henry’s deathbed and ends in reconciliation as Henry hands the crown to his son.

The set is amazing with complementary lighting.

There is not a weak link in the large cast, of whom many play multiple roles.

It is playing in repertory until August 13.