Secrets about writing the plays
The plays were written from the perspective that the men want love and the women want sex. That's socially acceptable as long as it is not done too overtly. That is why the characters in the plays, and hence the plays, are always accepted. Think about Romeo and Juliet. Romeo is the romantic and head over heels in love (or at least infatuated) with Juliet. Juliet is more about affection, ardor and desire. (This is the polite and graceful way of saying that Juliet is a horn dog.)
Also, there are at least three types of characters and they are usually very diverse. They are different enough that there is always one that you can relate to and one to inspire to. The one you relate to is the primary reason we like the plays. Because of it we can then relate to the play. Otherwise we could not relate to the play and would not like it. It's only what we relate to (and secondarily what we inspire to) that we like. That is why everyone likes the plays. It's as simple as that.
Note; A Midsummer's Night Dream has a fourth type of character, the faeries but that play was the only one I wrote for children as well as adults and the faeries are for the children to relate to. Prove it yourself by asking your own child who they like most in that play or in fact the character(s) they like most out of all the plays...or think back to when you were a child and remember your own favorite. See, what did I tell you? Oh, the faeries are still are your favorites? That's secretly what I hoped for.
Ms. Diane Major Spenser speaks briefly of this although she does not know why I made these sets of characters.
His words define the major theme of all of Shakespeare’s comedies, which usually introduce at least three sets of characters: a kind duke and his associates, high-born young lovers, and lower class servants or country folk. A Midsummer Night’s Dream has these, plus a fourth set--the fairies. Here
The secrets about what the plays were really about, such as Romeo and Juliet being about the real tragedy of Mary Queen of Scots and the Earl of Bothwell, was told to the audience by persons in the audience or sometimes by a person on the stage but not actually a part of the play. This person was an element which was known in ancient times as a 'Greek Chorus' so they were not out of place at all.
Often an aristocrat paid money to be this person to dispel the illusion of the play. He or she would pay me lots of money to be told the secrets of the play so he could then entertain his friends or an entire gallery with his 'insights'. I made a lot more money off of these generous patrons than I ever made off the plays.