List of illustrations; List of contributors; Note on style and abbreviations; 1. Introduction; 2. Chekhov on the British stage: differences; 3. The 'inevitability' of Chekhov: Anglo-Russian theatrical contacts in the 1910s; 4. Chekhov, naturalism and the drama of dissent: productions of Chekhov's plays in Britain before 1914; 5. Bernard Shaw's dialogue with Chekhov; 6. Coping with the outlandish: the English response to Chekhov's plays 1911
1926; 7. Komisarjevsky's 1926 Three Sisters; 8. Peggy Ashcroft and Chekhov; 9. Far from the West End: Chekhov and the Welsh language stage 1924
1991; 10. Chekhov re-viewed: the Moscow Art Theatre's visits to Britain in 1958, 1964 and 1970; 11. A path to Chekhov; 12. Subsequent performances: Chekhov; 13. The 'dwindling scale': the politics of British Chekhov; 14. The Cherry Orchard: a new English version by Trevor Griffiths; 15. Changes of direction: Mike Alfred's methods with Chekhov; 16. Chekhov and the company problem in the British theatre; 17. Design for Chekhov; 18. My search for standards as a translator of Chekhov's plays; 19. Chekhov into English: the case of The Seagull; 20. English translations of Chekhov's plays: a Russian view; 21. Appendix: A chronology of British professional productions of Chekhov's plays 1909
1991; Index.
