Sanders Theatre was filled to its doors last night at the presentation of "Iphigenie auf Tauris," by Mr. Conried's company. The performance went off very smoothly, the stage-setting and costumes being elaborately worked out, and in complete harmony. The same scene, a grove before the temple of Diana, was used for each of the five acts. Gluck's overture to the "Iphigenie in Aulis" was played by the Pierian Sodality. The orchestra, being placed above the stage, produced a very good effect, and played more purely and with finer expression than usual. The audience was very appreciative. At the end of the fourth act, Mr. Conried was called on the stage several times, and finally made a short speech in which he expressed his thanks to the audience for their reception, and hoped to be able to bring his company again in the near future.

Of the actors, the greater part of the work fell to Martha Schiffel, in the part of Iphigenia. Possessed of an ideal stage presence for the part, and combining with this strong dramatic powers which she kept under perfect control, and a remarkably flexible expressive voice, she held the audience throughout.

As Orestes, Carl Wagner played a very difficult part with great force, and yet with perfect naturalness. Especially in the highly emotional scenes of the third act, where the slightest over acting would have been fatal, he was free from any ranting, and never lost sight of the artistic limitations of the part. By his excellent acting he relieved the artificiality of the swoon scene, which is perhaps the greatest blemish in the play.

Excellent support was given to the principals by the rest of the cast. The part of Thoas, which afforded little field for expression, was admirably taken by Carl Bender. His voice and inflection could hardly have been improved upon. Eugen Hohenwarth took the rather conventional character of Pylades, which he played satisfactorily.