- 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
Treadwell includes these descriptions before the script of Episode One begins, and her characterization of Helen is especially helpful when it comes to understanding the nature of the play’s protagonist. First of all, Treadwell refers to the “confusion” of Helen’s “inner thoughts, emotions, desires, [and] dreams,” casting her as an emotionally complex and sensitive soul who has trouble sorting out her feelings, perhaps because she has so many of them. Furthermore, reference to Helen’s “desires” and “dreams” indicates that she wants something, though the object of her fantasies remains unnamed—a fact that aligns with Helen’s vague longings throughout the play…