Probably no play of the American theater (and I am including that feeble adaptation The Wisteria Trees) is more completely Chekhovian than Lillian Hellman's … most charming original drama, The Autumn Garden. Although the piece was only mildly successful when presented during the 1950–1951 season on Broadway, to the discerning (and here I quote Alan Downer) it is "Miss Hellman's most original play."

The Autumn Garden is remarkable for its skill. Miss Hellman herself (in her Introduction to Four Plays) lists the two faults most enumerated by her critics: that her plays are "too well-made" and that they are "melodramas." These two limitations are strikingly absent from The Autumn Garden. As a matter of fact, the play successfully contradicts Miss Hellman's own statements about the nature of drama. In her Introduction, she states: "The theatre has limitations: it is a tight, unbending, unfluid, meager form in which to write." But...