This Interlude between Part 1 and Part 2 of the book briefly considers the use and delayed currency of Shakespeare in the aftermath of the Russian War of 1853–56 (also known as the Crimean War), an unpopular conflict that nevertheless did not dampen the appeal of rousing militarism in Britain or position Shakespeare as a cultural figure through whom critical perspectives about the conduct of war could be presented. The Interlude concentrates on Charles Kean’s post-war Henry V at the Princess’s Theatre, London, in 1859, a production that does not contemporize the play’s events, but rather historicizes and distances them from its own time, reflecting a Victorian nostalgia for medieval history. It shows how the conditions of war and developments in war reporting can affect (and delay) the use of theatre for immediate wartime commentary. Shakespearean productions can be as much about forgetting or displacing contemporaneity, as invoking the specific contexts of a conflict or crisis, a pattern that recurs in the second part of the book.