[131] The eldest, Kate, “had been a choir singer in Limerick, and while singing at a concert one day in New York was heard by Harvey Dodworth and invited to join the chorus for Lester Wallack’s production of the opera of _Don Cæsar de Bazan_. She accepted, and was also joined by her younger sister Hattie, that being the début of the Crehan family upon the stage.” [132] Arthur Byron, the actor, is their son. Harriet, the second sister, had a long and comparatively inconspicuous career on the stage as Hattie Russell. Two brothers, William Crehan and Arthur Rehan, were more or less definitely identified, after Ada’s success, with the business side of the theatre. [133] While in his employ she appeared also in Baltimore. [134] Garrick’s version of _The Taming of the Shrew_. [135] In these pre-Daly days Miss Rehan played, besides the Shakespearean parts named, a host of others that it would be tedious and useless to name. Most of them would suggest nothing to a present-day theatregoer. A few that may have some significance are: Esther Eccles in _Caste_, Hebe in _Pinafore_, Lady Florence in _Rosedale_, Lady Sarah in _Queen Elizabeth_, Little Em’ly in _David Copperfield_, Louise in _Frou-Frou_, Marie de Comines in _Louis XI_, Mary Netley in _Ours_, Pauline in _The Lady of Lyons_, Queen of France in _Henry V_, Ursula in _Much Ado About Nothing_, and Virginia in _Virginius_. There were about ninety in all. [136] On the southwest corner of Thirtieth Street and Broadway. [137] Arthur Lynch, in _Human Documents_. [138] Still, in 1888, when the Daly company was playing in Paris, several of its members were interviewed, (seemingly about particularly trivial matters) and Miss Rehan was one of the talkers. She was said to have been pessimistic about the wisdom of marriages among actresses, particularly to actors. This is an ever fresh subject for debate. A writer in the New York _Dramatic Mirror_, September 15, 1888, wrote a column to refute Miss Rehan’s remarks. [139] “I would go to the theatre any night if only to see him run his fingers over the invisible keys of the sofa cushion.”--“Brunswick” in the _Boston Transcript_.