Usually classifed as a 'problem comedy', All's Well that Ends Well
invites a fresh assessment. Its psychologically disturbing
presentation of an agressive, designing woman and a reluctant
husband wooed by trickery won it little favour in earlier
centuries, and both directors and critics have frequently tried to
avoid or simplify its uncomfortable elements. More recently,
several distinguished productions have revealed it as an
exceptionally penetrating study of both personal and social issues.
In her introduction Susan Snyder makes the play's clashing
ideologies of class and gender newly accessible. She explains how
the very discords of style can be seen as a source of theatrical
power and complexity, and offers a fully reconsidered, helpfully
annotated text for both readers and actors.