SOURCE: A review of Twelfth Night in The New York Times, February 26, 1893, p. 13.

In the chronicle of the theatrical week the Viola of Ada Rehan holds the first place; in the record of her artistic career that lovely embodiment of one of Shakespeare's simplest but most beautiful creations will not be far from the first. Remembering Katharine, Julia, and Helena, it might be rash to say that her latest is her best work, but certainly she has done nothing better, for she realizes this heroine not only in her outward aspect, in form and bearing, and in melodious speech—she is surely the loveliest page that ever served an impossible Prince of Dalmatia, but that was to be expected—but in every shade of feeling, in every impulse, in every change of facial expression, she completely identifies herself with the role, and it with her own personality. She...