Sinn der Hilfe Engel ! » matches him as a logician

e which include theaters long wedding veils , galleries, castles, stately homes and pubs generates 4.billion pounds a year in total spending by overseas tourists.And while a royal birth isn t a typical economic event, things have a way of morphing in the social media age.The royals have come a long way since 1948, when Prince Charles birth was announced by a footman who tacked a note to the railing outside Buckingham Palace.William s engagement was announced on Twitter and on the monarchy website which allows the royals to speak directly to the public.Between direct access and media excess, just about anything that touches the Windsors gets a maximum amount of attention.The royals are marketplace movers in a way that goes way beyond commemorative china.When the Duchess of Cambridge wore a sapphire blue wrap dress to announce her engagement, designer Daniella Helayel found herself swamped with international attention and buyers within minutes.But it didn t end there.Style bloggers now hunt down what the duchess is wearing with astonishing speed.and was available to anyone with a speedy modem.Ditto her coats, shoes and bags.Kate has made a point of choosing brands that are both accessible and British and retail experts expect that trend to continue with her royal offspring.New moms and dads will want not only the baby Windsor s onesie, but also the baby carriage, the rattle and the teddy bear -followed by the royal tricycle, the scooter and on.Maclaran says it s not so much as a royal baby bounce but a steady drive toward the cash register that just keeps going as the little one grows up.And they re bound to have more!The royals have also done marketers a favor by exhibiting extreme tolerance in allowing the public to create stuff in their image.Unlike the International Olympic Committee, which guards its trademark interlocked rings with formidable force, Windsor Inc.pretty much lets the people poke fun at them.The royal wedding, for example, spawned artist Lydia Keith s barf bags an idea she carried over to the royal birth with a Shake, Rattle Rule royal morning sickness sick bag, which comes in baby blue and soft pink.Allowing jokes and laughing along allows the public to bond with Britain s royal family, Maclaran said.The irreverent thing is what makes us love them, she said.That s good for Ray Duffy, the managing director of Mask-arade, the Southam-based company that makes paper masks which are pictures of the royals with holes for the eyes.Duffy s on overdrive printing masks of Kate and William for the street parties that will follow the announcement of the royal birth.Normally, the company has 2 wedding dress petticoat ,000 masks on hand but now they are whipping up 20,000 each of Kate and William.Historian Hugo Vickers stresses that even if the royals are nicknamed the firm in Britain this is their blessed event and any economic boost is secondary.Charles is the current heir, and his son William is second-in-line.The new baby boy or girl will be third in line to the throne, bumping Prince Harry to number four.It will focus the eyes of the world on Britain, Vickers said.Everyone is excited by a baby.And everyone is really excited by a royal baby.And everyone is very, very excited when the baby is the heir to the throne.Shakespeare set Measure for Measure in Vienna.Well, he namechecks the place twice.Martha Henry’s Stratford production places us in that ambiguously liberated city, just after the Second World War: Harry Lime time.It works, creating a climate of cankered bureaucracy and sexual unease, not to say disease, befitting a story in which a lax ruler takes leave of absence, bequeathing his powers to a notoriously puritanical deputy and then returning incognito to see how he gets on.You couldn’t hope to find better acting, direction or indeed writing than in the two scenes in which the newly empowered Angelo faces the novice nun Isabella who’s come to plead for the life of her brother Claudio, condemned to death for impregnating his girlfriend, and finds himself, for the first time in his life, falling in lust.Tom Rooney gives a magnificent, searching performance of a man obsessed with law and morality, and convinced that they’re the same thing.As his self-image crumbles he finds himself literally grasping at things: clutching at books, papers, finally and violently at Isabella herself, all of them slipping through his fingers.This production is as full of props as Romeo and Juliet is empty of them bridal petticoat , but both excel at seizing on the text’s suggestions and making them real.Rooney’s is a quiet performance, very logical and measured, until it collapses, violently, into a new kind of fanaticism, desire and self-hatred mixed.is how he puts it; and it may be the way Isabella talks that first attracts him; they’re both great legalistic arguers, and the severe habit that envelops Carmen Grant’s convent trainee (most Isabellas give themselves more leeway when they go a-calling) gives him little else to go on.She matches him as a logician, cool at first, then goaded into moral passion, feeling her own strength.sends her into shock; left alone, she reaches for the phone on his desk (she’s a prop person, too) before realizing she has no one to call.sounds, for once, right: for her, anyway.The tremendous force of these scenes, and of Isabella’s subsequent one with Claudio (Christopher Prentice, passionate and perplexed), has its downside; it throws into even sharper relief than usual the drop in dramatic pressure when the disguised Duke emerges from the shadows to take over the action and steer it from disaster.He does it in rapid prose that suggests the playwright as well as the character is improvising his way out of an impossible situation.For one thing, he reveals discreditable things about Angelo that take the shine off what we had taken to be the corruption of a saint.The Duke himself seems in this production to have a past.He makes his first, pre-abdication entrance, through the door of a cage that’s an impressive permanent featu.