The Bed Trick, a recent play by Keiko Green, premiered at Seattle Shakespeare Company in Spring of 2024. It is a meta adaptation of William Shakespeare’s All’s Well That Ends Well and is named for a narrative trope, the bed trick, that features prominently in Shakespeare’s play. In her play, Green deconstructs and reworks the titular narrative device and engages metatextually with All’s Well That Ends Well to examine the themes of consent, honesty, loyalty, and friendship. Green uses a variety of adaptive strategies to examine the ethical holes in All’s Well That Ends Well. Rather than directly adapting her source, she uses it as a jumping off point for her own story, and warps the structure of the trope of the bed trick to engage with current socio-political conversations around consent, rape, sex, and the boundaries thereof. I attended a performance of The Bed Trick toward the end of its first run, and it fascinated me so much that, four months later, I made it the focus of a research project for an adaptation studies class. In addition to utilizing my first-hand knowledge of play, I also accessed the primary text through the New Play Exchange, as it is a new play unavailable in libraries or bookstores. In my presentation, after briefly summarizing All’s Well That Ends Well and outlining the basic structure of the bed trick, I will walk through my original research of Green’s play, examining her various mutations of the bed trick, the ways that she engages metatextually with All’s Well That Ends Well, and the adaptive strategies she uses. The Bed Trick is a fascinating example of meta-adaptation and a highly contemporary and socially engaged piece. It is well-worth an exploration to analyze its purpose and structure, and adds greatly to discussion of theatrical adaptation.