This is from the Batchelder (many spellings) genealogy book, which lists May Yohe since she is a descendant on her mother's side.
1532. iii. LIZZIE, b. (???); m. in Bethlehem, Pa., Dec. 1864, William W. Yohe. At the time of their marriage he was serving as a commissioned officer in a Penn. Reg't. in the Civil War. His father was proprietor of the Eagle Hotel in Bethlehem, then famous for its excellence in all the country far and wide. Lizzie's mother died when she was so young she can scarcely remember her, and the relations between herself and stepmother were such that she was placed with her aunt Augusta Robbins, by whom she was reared and to whom she was devotedly attached, until she was 12 years old, when she started out to earn her own living. Wherever she located she was very successful and very popular. At one time she resided in Canada; at the time of her marriage she was carrying on her business in Bethlehem, and had been for three or four years. Except for a brief period subsequent to her marriage she continued in business, most of the time in the marble front, 1016 Chestnut St., Philadelphia, working for some of the wealthiest people in the state, until her daughter was able to provide a home for her. Wm. was very dark complexioned, talented, musical, fascinating, artistic, an excellent "putty" maker. Lizzie, besides being mistress of her business, was a good singer, frequently having engagements with prominent churches in Philadelphia for their choirs. She has dramatized quite nicely "The Scarlet Letter." but I believe she has never presented it to any manager. The only fruit of the marriage is Mary Augusta Yohe, widely known as May Yohe, the opera singer. She was born at Bethlehem, Pa., April 6, 1866, and was baptized into the Moravian church at that city April 6, 1867. It was about that time her mother commenced business in Philadelphia, and there May continued to reside until about 12 years of age, when her mother sent her to Europe to be politely educated.
After an absence of nearly three years she returned
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home, her father meanwhile having died in Montana. Now she first began to manifest a talent for music and a desire for the stage. Her first appearance was as a chorus girl, but it was from her success in rendering Prince Prettywitz in the Crystal Slipper at the Chicago opera house in the summer of 1887, that her career may be said to have dated. She has toured extensively, having visited Britain at least twice and also Australia, before her final trip to England, which terminated in her making that country her home, as the wife of Sir Francis Pelham--Clinton Beresford Hope (1894), younger brother of the present Duke of Manchester, whose life is slowly ebbing away and to whose titles and estates, the present Duke, being childless, Sir Francis will succeed. She is thoroughly in love with her profession, and for that reason and that only, remains on the stage. Her husband gallantly and devotedly escorts her wherever she goes. It was a genuine love match. She is as much distinguished for her steadfast attachment to old friends as for her sturdy independence. This she not only inherited from each parent; but she has never known higher authority than her own sweet will. Recently her natural kindness of heart has practically manifested itself in a radical but systematic attempt to elevate and improve the condition of her husband's tenants. One of her striking traits is her regard for old friends irrespective of their social position, as is well brought out in the following characteristic anecdote: One evening when playing in one of our large cities a distinguished English nobleman sent up his card and asked her to dine with him after the performance. She accepted the invitation but when she came down to the reception room she also discovered there an old friend she had not seen for some years. She went right up to him and greeted him cordially, accepting at once his invitation to dinner. Turning to the discomfited Englishman she waved her hand saucily to him, exclaiming, "Ta, ta, Duke, ta, ta!" and left the apartment with her new escort. May Yohe, now Lord Francis Hope's wife, is the presumptive heir to the title of Duchess of Newcastle. It is by no means certain that Lady May will be here this year, but an attempt to secure her has been making for some time, and the engagement is sure to come to pass yet, as the one-time favorite is not rich, if she is titled, and a good, financially successful tour would be very welcome to her exchequer. It is seven years ago this month--September, 1888--that May Yohe made her first success in Boston, and from that time her career was a venturesome
[Image for Batchelder, Batcheller Genealogy ] one. At that time she was about 17, and was the prime attraction in a spectacular production of "Cinderella," hailing from Chicago. When that show left Boston, May Yohe stayed behind, and was for some time a resident of Columbus Ave., where her lithe young figure, with its bouyant carriage, and her saucy face, with its big, dark eyes and ruby lips, became very well known. She went abroad about three years ago and made an almost instantaneous hit, and has been popular ever since. Among her hits are Martina in "The Magic Opal," at the Lyric Theatre, London, Jan. 19, 1893; Nitouche in the comic opera of the name, May 6, 1893; the title role of "The Lady Slavey," Oct. 1894, at the Avenue Theatre; and in "Dandy Dick Whittington," at the same theatre, in March of this year. Every one knows Miss Yohe's vocal peculiarities. She has a voice of limited range, a deep, musical, but peculiar contralto. That has been one of her charms to the Londoners. This year (1897) she retired from the stage at the request of the dowager duchess of Newcastle.
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