- 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 Berniece explains her history with the family piano to Avery, he has a different perspective on the situation than she does. He argues that, like Berniece continuing to cling to her late husband, Crawley, she is unnecessarily burdening herself with the piano’s sorrowful history. Avery argues that Berniece can instead make a choice to lay down this burden by squarely facing her history. She can do this by refusing to hide from her past and taking the risk of reopening family wounds by playing the piano.
Interestingly, Boy Willie makes a similar argument later when he urges Berniece to…