- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
The play ends with the Maniac telling the audience that they must choose between the two endings they have just seen. In one, Feletti lets the bomb go off, killing the four policemen; in the other, she sets them free, only for them to restrain her, leaving her for dead. The Maniac’s point isn’t just that the audience should choose to remember the ending that they like better—rather, he's saying that Feletti’s dilemma is a metaphor for the decision that faces every Italian worker in 1970, including his audiences. Namely, as neo-fascists try to take back control of the…