From The Theater: A Monthly Review and Magazine [1884].

Mr. A. W. Pineros latest effort in the playwriting line is, we are pleased to be able to record, a complete success. In Chancery, first produced at the Lyceum Theatre, Edinburgh, on Friday, September 19, is described on the bills as an Original Fantastic Comedy in three acts. Act i. introduces us to the hotel at Sleepleton Junction, where resides a gentleman, the victim of a railway collision, who as a result of his smash up has completely lost his memory. A card-case supplies him with a name which may or may not be his; in his difficulty, however, he catches at a straw, and makes the best of a bad bargain by allowing himself to become engaged to Patricia, the daughter of the blustering Irish landlord, to whom of course he owes a long account. This is no sooner concluded, and the engagement announced to the landlords friends than JolliffeȔthe man without a memory Ȕreads an advertisement offering a reward of £2 for his arrest, and the first act is brought to a screaming termination by his obtaining possession of all the newspapers containing the offer of reward for his arrest. Act ii. introduces us to Jolliffe and the guests dressed for the wedding. A detective, however, comes on the scene and of course espies Jolliffe. A Mrs. Smith, with man and maid servant, next make their appearance, and turn out to be the real Jolliffe, disguised as the servant and his wife, a ward in Chancery with whom he has run off, and is accordingly wanted by the Lord Chancellor. They make their escape, and are followed by the supposed Jolliffe, who has succeeded in escaping from both the detective and his intended.

Act iii. transports us to Gravesend, where lodgings are let by a Mrs. Jackson. This lady turns out to be no other than the wife of the victim of the railway accident, who, along with the real Jolliffe and Mrs. Jolliffe, come to take the apartments. Jolliffe, or rather Jackson, regains his memory all at once, and is recognised by his wife. This complicates matters considerably, especially as Mrs. Jolliffe still persists in claiming him as her husband; and when the detective and the entire wedding party appear upon the scene, the climax is reached, while the solving of all the complications is brought about by the Lord Chancellor promising not to punish Jolliffe, and the doctor vouching for Jacksons memory having been lost.

The interpretation this lively piece received at the hands of Mr. Terrys company left little or nothing to be desired. Mr. Terrys own performance was indeed as good as anything he has yet given us. The author was several times called before the curtain at the close of the performance, and had to acknowledge the splendid reception accorded to the piece.