By Glenn Things Theatrical are what “illicit a strong audience response”. Following that definition Angelo’s desire of Isabella is certainly theatrical, because this behavior is so unexpected, coming from such a straight-laced deputy. Not only that, but the simple juxtaposition of the nobleman lusting after the soon-to-be nun is in and of itself, unusual, creating once again a strong response. A very strong “thing theatrical” occurs when Angelo demands Claudio be killed even after he thinks he’s slept with Isabella. I myself as a reader was not expecting that level of treachery from Angelo, making the surprise element of this action supremely theatrical. But perhaps one of the most theatrical moments occurs when the Provost enters with Ragozine’s chopped-off head to give Angelo in place of Claudio’s head. Freshly cut heads on stage seems pretty theatrical to me. However, one of the interesting variances in this scene is the almost lightheartedness that goes along with the dismembered head. Instead of it seeming gross or horrifying, the head is looked upon as God’s saving grace. This subtle inequity between what we expect the character’s reaction to be, and what it really is, is in and of itself, theatical.Finally the end scene is chockablock full of ‘things theatrical’. The Duke’s entrance, the Duke’s reveal, Angelo’s marriage and saved life, Claudio’s appearance, Lucio’s end, and the Duke’s proposal to Isabella are all exciting and surprising. Because of this, the audience responds very strongly to what can be considered the finale of “Measure for Measure”.