- 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
As John returns to his desk and begins shuffling papers around just seconds after having come terribly close to bringing a chair down over Carol’s head, Carol remains on the ground, stunned—and seemingly a little bit excited—by what has just happened. “Yes. That’s right,” she says, revealing that her worst beliefs about John’s true character have at last come up to the surface—in large part because of her own deliberate manipulations and provocations. This line is the play’s final moment—and within it, Mamet suggests that Carol has, all along, been twisting the knife, so to speak, in order to gather…