- 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
At first, Felix has difficulty getting his actors excited about The Tempest, which is much different from the political dramas to which they’re accustomed. What’s most notable in their early discussions is the extent to which their interpretation of the play differs from his own. Felix thinks of Prospero, like himself, as a sympathetic character driven by love for his daughter and the desire for revenge. On the contrary, the prisoners see the exiled duke as an oppressor himself and identify primarily with the island’s only native resident, Caliban, whom Prospero has enslaved. With his comment here, 8Handz evokes…