Just before he died, maverick MP Alan Clark stood up for football hooligans by saying that while they have been boorish, they were the sort of violent patriots who had done England proud at Agincourt.

Edward Hall’s production of Shakespeare’s propaganda piece is Clark’s mischief-making turned reality. The all-male cast give a pumped-up version of the events leading up to Agincourt – and beyond – in a dizzying interpretation of the play. The English are plain-speaking and honest and the French are sniggering fops – it’s as it should be.

Yet despite the testosterone-charged atmosphere, Dugald Bruce-Lockhart is not the bellicose warmonger, quick to seize an excuse to go to war. His response to the tennis-ball insult is spoken calmly, as if debating the consequences in his own mind. This is also an extraordinarily devout Henry, forever kissing his pectoral cross and fervent in his devotions.

Anyone who’s ever seen a Propeller production will know what to expect: a fast-paced run-through of the play (there’s no description of Falstaff’s death and the Scottish and Irish captains Jamy and McMorris are absent), with plenty of choral singing, mixing Latin hymns with modern pop songs – The Pogues and The Clash get an airing this time around.

This is Shakespeare at its most accessible, full of invention, wit and humour. What sets Propeller apart from other radical re-interpretations of Shakespeare is that the actors speak with clarity and the verse is treated with respect.

It’s not classic Shakespeare but it’s a thoroughly entertaining take on the play and well worth catching before the run finishes.