![]() |
L. Frank Baum, Playwright |
Guest Blogger Eric Shanower
As a playwright, L. Frank Baum seemed to have little patience with editorial interference. When a script doctor revised Baum’s script of the stage version of The Wizard of Oz in 1902, Baum objected strenuously. In 1905, when The Wogglebug was being staged, Baum refused to let anyone else touch his script.
So in 1913, when producer Oliver Morosco wanted to make changes to The Tik-Tok Man of Oz script early in the rehearsal period, he approached Baum carefully. Morosco spoke softly and flatteringly before suggesting the possibility of condensing Act Two.
To anyone aware of Baum’s past displays of temperament, his reply was a surprise: “Oh, you want to cut it,” said Baum. . . . “Well, then, go as far as you like.”

Of course, following opening night, The Tik-Tok Man of Oz changed even more. Baum seems to have been content for several months to work with Morosco, tightening and sprucing up the script while the production ran in Los Angeles, San Francisco, and Chicago. Serious conflict seems to have arisen only toward the end of the 1913 summer season, when it grew evident that the show would not open the regular theatre season on Broadway and Baum relinquished creative control over the script.
NOTES
J. Rex James, “Morosco’s Invasion of New York Announced; Edison’s Kinetophone Replaces Bernhardt,” Daily Tribune (Los Angeles, CA), 15 March 1913, 13, 16; “Objects to Changes,” Syracuse (NY) Daily Journal, 3 June 1902, 6; O. L. Colburn, “Telegraphic News; Chicago,” New York (NY) Dramatic Mirror, 22 July 1905, 12; “Heard Back of the Curtains,” Los Angeles (CA) Daily Tribune, 20 March 1913, 15; “Behind the Scenes by the Genial Grouch,” Los Angeles (CA) Express, 5 May 1913, 10; Memorandum of Agreement among Oliver Morosco, L. Frank Baum, and Louis Gottschalk, Los Angeles, CA, 9 September 1913.
Copyright © 2025 Eric Shanower. All rights reserved.
All three volumes are offered as a set with a $10 discount of the total price.
No comments:
Post a Comment