- 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
Kingston contrasts the expression of voice. Kingston separates herself from “normal Chinese” women—that is, those who were born in China and have an instinctive sense of the language derived from living on the land—and American-Chinese, like Kingston, who have learned the language second-hand and apply an American cadence.
Kingston grew up in California in the 1950s, when femininity, particularly that which was portrayed in the films Kingston enjoyed watching in her youth, portrayed girlish women whose voices were small—a contrast to the “strong and bossy” voices she was accustomed to hearing. Kingston’s voice did not fit either of these modes…