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 That’s why Raine cites writers like Wesker as her heroes, and why she’s been coming to rehearsals an hour early in the mornings, “to go through these beautiful lines of Beatie’s, and get them exactly right. It’s a heartbreaking play, because it’s set at that point when socialism so nearly took off,” she says. “It was so much easier to take up the cudgels then, when you knew exactly where you stood. Today, with politicians all migrating to the centre ground, there’s very little to get your teeth into – it’s like a blancmange.” However, she stresses, it’s not that, having inhabited her brace of Fifties roles so thoroughly, she feels like a woman out of time: “No, I like living in this era, but sometimes you feel it’s difficult to make yourself heard. Actually, the loudest voice I feel I’ve had is being on stage, articulating a writer’s words I’ve felt an affinity with. It’s a powerful feeling, so cathartic, to get it off my chest.” And Jessica Raine grins broadly, the iron lily in full bloom.