- 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
This excerpt demonstrates Shuggie’s growing certainty that he cannot change any more than Agnes can change her drinking, as well as his internalized belief that her alcoholism and his queerness are equivalent problems barring them from normalcy and, therefore, happiness. Despite Shuggie’s efforts to memorize the scores from his book of football statistics and the time he has spent practicing walking in the exaggeratedly masculine way Leek showed him, Shuggie finds himself targeted once again.
Dancing, something that symbolizes hope and joy to Shuggie and Agnes, has once more become a weapon wielded against him; just as the McAvennies mocked…