This opening night review of The Tik-Tok Man of Oz was published April 1, 1913, in the Los Angeles Evening Herald. The "Maud" that Mr. Price, the reviewer, refers to at one point was the animal star of the then-popular comic strip And Her Name was Maud by Frederick Burr Opper.
TIK TOK [sic] SHOULD RUN LONG TIME
New Musical Play Sparkles in Gorgeous Beauty
By Guy Price
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| Dolly Castles and Charles Ruggles. |
The Majestic was packed long before the performance began, the demand for seats being greater than the supply, resulting in hundreds being turned away. The audience not only was large and enthusiastic, but probably was the most fashionable that ever has turned out to witness the premiere of a play here. It was a beautiful foreground for the biggest event to occupy the local stage in its period of remarkable advancement. And Los Angeles should be proud.
The play, as all undoubtedly know by now, is a musical fantasy by L. Frank Baum and Louis Gottschalk. Mr. Baum wrote the book and lyrics and Mr. Gottschalk the music. The story is a continuation of the author’s famous Oz books and, although resembling in many ways “The Wizard of Oz,” it is built on entirely different lines. All the scenes are laid in fairyland and the theme as worked out is a tale of wondrous charm and beauty.
But the piece needs a lot of fixing before it will be ready for Chicago or New York, or even San Francisco. In its present embryonic form it lacks the polish and glitter that come only after the process of weeding is gone through. The comedy lines need strengthening—very few of them got over effectively last night—and Mr. Baum can greatly improve upon his book by exterminating several sections that impede rather than accelerate the action of the play. The physical and mental strain to which the players have been subjected in the past week, with rehearsals morning, noon and night, can be blamed for the lack of ginger on the part of some of the principals. Their spirits seemed to lag and at times the spirits of those sitting out in front suffered likewise; anyway, that is the way I felt. The players were trained to so fine an edge that they became “stale,” but it is to be hoped—and there is no doubt it will be done—that another rehearsal or two will eliminate the soggy defects.
The word “perfect” describes the music to an absolute nicety and Mr. Gottschalk’s direction of the orchestra proves him an artist of no uncommon ability. Here and there one discovers a familiar chord, but for the most part it is new, sparkling and melodious. The song numbers, written by Mr. Baum and set to tinkling music by Mr. Gottschalk, are the kind that send you away happy and whistling.
With due respect for the work of both author and composer, the feature of the play that attracts most is the scenic and electric effects. These never have been approached in this city before. Each scene is a picture of exquisite beauty and the color schemes are so entrancing to be beyond all description. The costumes are brilliant and delicious to the eye.
The best acting, in my opinion, is done by the mule, named Hank, played by Fred Woodward. He is working at top speed all of the time, and on no occasion does he overdue [sic] the part. Mr. Woodward came to us heralded as a wonderful portrayer of animal characters, but I will go even farther and pronounce him the “best mule in captivity,” not excepting his near kin, Maud, of funny section fame.
Speaking of Hank, naturally brings to mind Miss Lenora Novasio, who appears as Betsy, the girl from Oklahoma, who with her mule playmate is shipwrecked and rescued from a raft. Miss Novasio is, in my opinion, the real bright spot of the play. She is full of life and she rescues the performance from an almost comatose state. She sings two or three rollicking songs and, though not blessed with a strong voice, does exceedingly well. The only fault that could be found with her entire performance is the plainness of her costumes. A few more frills, I believe, would add to her attractiveness.
Morton and Moore, impersonating Tik Tok [sic] and Shaggy Man respectively, are the pricipal [sic] comedians and, of course, they are good. The former is a clever dancer, fair singer and speaks his lines so that he can be heard by those in the rear of the theater. His agility is extraordinary and his make-up and facial expressions are as funny as they are grotesque. Moore has greater opportunity for comedy and he makes the most of it. Both are clever and should be better with a few more rehearsals.
Eugene Cowles handles the role of the Metal King in his usual perfect style and in several songs further proves his ability as a basso of power and wide range. Dolly Castles is demurely sweet as Polychrome. In her duet with Charles Ruggles she is especially pleasing. Mr. Ruggles, cast as Private Files, plays his small part well. Miss Josie Intropidi gives an ingenious character portrayal of Queen Anne, [sic] while Mlle. Vera Doria sings beautifully as Princess Ozma.
The most skillful dancing seen here in some time, with the possible exception of Genee, is executed by Burns and Fulton. The dance is entitled “The Whirlwind,” and it certainly is true to its name. Their performance is lightning fast and one to marvel at.
“The Tik Tok [sic] Man of Oz” after a little repairing should make Chicago and New York jump up and gaze on in amazement, but one thing is certain—if play, music and everything else fail to impress, that chorus of beauties, some thirty girls strong, well-figured and as sprightly as birds in the light of a new morning’s sun, will command attention. A bigger, better galaxy of maidens never lent charm to a stage production. And they are mostly California product, too.
Manager Morosco, Author Baum, Composer Gottschalk, Director Frank Stammers and Artist Robert Brunton were called before the curtain between the first and second acts. The author and manager made short speeches in which they thanked the audience for their appreciation and expressions of good will.
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