The Electra.

Sanders Theatre was crowded to its utmost last evening at the performance of the "Electra of Sophocles by the students of the American Academy of Dramatic Arts.

Few places are more fit than Sanders for the presentation of a Greek tragedy. Its form is strikingly like an ancient amphitheatre and in fact save for the second gallery is essentially a copy. The theatre, therefore, thoroughly adapted itself to the setting of the ancient stage. The floor before the stage was occupied as of old by the chorus about the altar, and from it an easy flight of marble steps led to the court before the palace of Clytemnestra. The palace itself was represented by the schene and paraschene of the stage. It is impossible to enter here into a synopsis of the play. Suffice it to say the tragedy retains for an American audience an astonishing interest, and bring vividly before us the fact that in many ways little more than a long term of years separates us from the feeling and spirit of the Grecian time. Save during one or two chorus scenes the listener almost continually found himself so absorbed as to be utterly unconscious that he was listening to a production of more than twenty centuries ago.

The whole caste deserve high commendation for their interpretation of their parts, but if one must discriminate one may say with justice that Mr. Whitlesey as Orestes, Miss Hamilton as Electra, and Mr. Platt as a former relative of Agamemnon, excelled. The old man's vivid recital of the alleged death of Orestes, was particularly well done and deserves especial mention. The acting of the chorus, too, as they hung listening on the old man's lips was very lifelike. Every gesture. every attitude betrayed each change of feeling during his recital.

The most difficult role of the play was that of Electra, calling as it did throughout for expressions of extreme emotion; yet no part was taken with more appreciation of the demands. Her intense sorrow at the news of her brother's death and her outburst of passion against her mother were particularly happy.

The only break in the gloom of the whole plot is in the meeting of Electra and Orestes before the palace, and the acting of both Miss Hamilton and Mr. Whitlesey, on this occasion deserves mention.

The nature of a Greek plot is of course in many ways essentially different from that of an English plot, and for this reason it is difficult to draw comparisons. Comparisons in fact are unnecessary. It is enough that a tragedy of a Greek master should retain so much interest for a modern audience as the Electra has shown itself to retain. The fact certainly is worthy of reflection.

A word of commendation is due those who had in charge the presentation of the play. The costumes showed taste in the grouping of colors, and were, moreover, in keeping with Grecian models. This, in fact, lent no small share to the success of the performance and helped to recall the Oedipus presented in 1882 by members of the university.

At the close of the play the actors received a perfect ovation from the audience, which would not be satisfied until they had twice responded.