- 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
When Grandma dubs The Young Man “the American Dream,” it’s seemingly a compliment. She’s commenting upon his good looks—his clean-cut exterior, his “Midwestern” carriage, his muscled frame. His exterior is exquisitely American—but as The Young Man will soon reveal, he is a wreck on the inside, transformed by the many indescribable and strange traumas he’s suffered. As Albee develops the parallels between The Young Man and the concept of the American dream, Grandma’s comment seems less like a compliment and more like a curse. Like the concept of the American dream, Albee suggests, The Young Man has been hollowed out…