A NEW “OZ” EXTRAVAGANZA
“THE TIK-TOK MAN” AT THE SHUBERT A BIG SPECTACLE
“The Tik-Tok Man of Oz” at the Shubert Theater this week is the result of an effort to repeat the success of “The Wizard of Oz.” The latter extravaganza was written by L. Frank Baum, librettist, and Paul Tietjens, composer. In the new play Mr. Baum has had the assistance of Louis F. Gottschalk. These writers risked the danger of close imitation, with the result of some rather tame variations in lieu of original devices. The similarity marks the whole costly production, to such an extent, indeed, that the question arises as to whether a plain sequel to the original work might not have been more acceptable. For it is almost an axiom in the “show business” that imitations in characters and plot must be better than the originals if they are to win.
But at that “The Tik-Tok Man” probably is a better entertainment than was “The Wizard of Oz” when that play was first presented in this city. It was following that presentation that the last act was replaced with an enirely [sic] new section, the cast of principals strengthened and the chorus augmented for the New York engagement.
The new spectacle is introduced with a storm at sea instead of a Kansas tornado, and out of wreckage comes a girl from Oklahoma instead of Kansas. And if you have seen the first “Oz” play you can pretty nearly guess the adventures of the various characters, including the stranded girl’s donkey, the clock man, the shaggy man, a princess or two, a queen and a fierce monarch of the metal kingdom. The successive scenes are on big spectacular lines and the principal ones are exceedingly beautiful.
The real delight in this extravaganza is Miss Charlotte Greenwood, who is a whole “awkward squad” in herself, with the amusing tricks and bantering familiarity that made her success in vaudeville and later in the Winter Garden production. And next in merriment is Fred Woodward, who acts the pet mule, about the most expressive “animal” extravaganza has yet produced. Frank F. Moore as the Shaggy Man and James C. Morton as the Tik-Tok chap (the Scarecrow and Tin Man of the first play) work hard and score sometimes; but they are not sure hits.
There are two really good singers in the company—John Dunsmure, a basso of fine accomplishments and interesting career, who acts the Metal King, and Miss Dolly Castles, the Rainbow Girl. Miss Lenora Novasio, as the girl from Oklahoma, is an interesting little waif. Miss Gipsy Dale is an attractive princess.
There is not much that is distinctive about the music, although there are several very pretty numbers. The best of Mr. Gottschalk’s work is in the instrumentation.
Austin Latchaw.
Copyright © 2026 Eric Shanower. All rights reserved.
