Julia Listengarten assesses Chekhov’s theatrical revolution in the context of other major innovators of his time, including Ibsen, Strindberg, and Maeterlinck, presenting Chekhov not as an exponent of any movement but as a unique theatrical practitioner whose work resonated within a broader cultural moment.

‘Decadent theatre’ is not an established genre within British theatre studies. Barring Wilde’s Salomé, Maeterlinck’s Symbolist theatre had little impact on the British stage, though it strongly influenced the Irish theatre. Frequently applied to Ibsen as a term of abuse, ‘Decadent’ denoted plays that challenged social and moral conventions. Sensuality and sexual temptation became a staple within purportedly moral plays, and ‘fallen woman plays’ like Bella Donna (1911) and ‘toga dramas’ like The Sign of the Cross (1894–5) made box office gold. British avant-garde theatre was shaped by Bernard Shaw, who blended realism and theatrical extravagance into an alternative form of Decadent theatre. Shavian realism and social critique were key to the development of the British theatrical avant-garde, and ‘Decadent’ theatre thus took on different forms from on the Continent. The verbally extravagant, self-consciously theatrical comedies of Oscar Wilde produced one brand, whose legacy was the poised black comedies of Noël Coward and Joe Orton. Elizabeth Robins and Florence Bell, by contrast, pushed unrepentant realism to the point of awakening critics’ lurid imaginations.