he stage. Her art, luminous and sparkling,
especially fitted her for high comedy, and it was there that she
achieved her greatest distinction.

Ada Rehan's name was closely associated for many years with that of John
Drew, also a member of the Daly company, and a son of the famous "Mr.
and Mrs. John Drew," two of the most versatile, charming and popular
members of the old school. The elder John Drew was born in Ireland in
1825, but came to America at the age of twenty and spent the remainder
of his life here, except for a few absences on tour. He was considered
the best Irish comedian on the American stage. His wife, born in London
in 1820 of a theatrical family, appeared in child's parts at the age of
eight, came to this country at the age of twenty, and made a great
success here in high comedy parts. Their son can scarcely be said to
have fulfilled the promise of his early years, but seems to be content
with an achievement which shows him to be an accomplished and finished,
but by no means inspired or imaginative, actor.

Another family as celebrated in American theatrical annals as that of
John Drew was E. L. Davenport's. Davenport himself had received his
training in the old stock companies, and notably as Junius Brutus
Booth's support in a number of plays. He was equally at home in tragedy
and comedy. Associated with him after their marriage in 1849 was his
wife, Fanny Elizabeth Vining, an actress of considerable ability.

No less than six of their children followed the stage as a career. The
most famous of them was Fanny Davenport, whose stage career began when
she was a mere baby. Her young girlhood was occupied with soubrette
parts, but she soon developed unusual emotional powers, and attracted
Augustin Daly's notice. He added her to his stock company in 1869, and
she soon won a notable success in such parts as Lady Gay Spanker, Lady
Teazle and Rosalind.

Perhaps no American actor ever had a more remarkable career than William
Warren. Born in 1812, the son of a player of considerable reputation,
his first appearance was at the age of twenty. For twelve years his
history was that of most other struggling actors, but in 1846 he became
connected with the Howard Athenaeum at Boston, where he remained for
thirty-five years, retiring permanently from the stage in 1882.

During his career, he had given 13,345 performances and had appeared in
577 characters, a record which has probably never been approached. He
was