Aunt Jane's Nieces Abroad: American Literature
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THE DOYLES ARE ASTONISHED
It was Sunday afternoon in Miss Patricia Doyle's pretty flat at 3708 Willing Square. In the small drawing room Patricia--or Patsy, as she preferred to be called--was seated at the piano softly playing the one "piece" the music teacher had succeeded in drilling into her flighty head by virtue of much patience and perseverance. In a thick cushioned morris-chair reclined the motionless form of Uncle John, a chubby little man in a gray suit, whose features were temporarily eclipsed by the newspaper that was spread carefully over them. Occasionally a gasp or a snore from beneath the paper suggested that the little man was "snoozing" as he sometimes gravely called it, instead of listening to the music.
Major Doyle sat opposite, stiffly erect, with his admiring eyes full upon Patsy. At times he drummed upon the arms of his chair in unison with the music, nodding his grizzled head to mark the time as well as to emphasize his evident approbation. Patsy had played this same piece from start to finish seven times since dinner, because it was the only one she knew; but the Major could have listened to it seven hundred times without the flicker of an eyelash. It was not that he admired so much the "piece" the girl was playing as the girl who was playing the "piece." His pride in Patsy was unbounded. That she should have succeeded at all in mastering that imposing looking instrument--making it actually "play chunes"--was surely a thing to wonder at. But then, Patsy could do anything, if she but tried.
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About the author
Lyman Frank Baum (May 15, 1856 – May 6, 1919), better known by his pen name L. Frank Baum, was an American author chiefly known for his children's books, particularly The Wonderful Wizard of Oz. He wrote thirteen novel sequels, nine other fantasy novels, and a host of other works (55 novels in total, plus four "lost works", 83 short stories, over 200 poems, an unknown number of scripts, and many miscellaneous writings), and made numerous attempts to bring his works to the stage and screen. His works anticipated such century-later commonplaces as television, augmented reality, laptop computers (The Master Key), wireless telephones (Tik-Tok of Oz), women in high risk, action-heavy occupations (Mary Louise in the Country), and the ubiquity of advertising on clothing (Aunt Jane's Nieces at Work).
Baum's newspaper failed in 1891, and he, Maud, and their four sons moved to the Humboldt Park section of Chicago, where Baum took a job reporting for the Evening Post. Beginning in 1897, he edited a magazine for advertising agencies for several years, focused on window displays in stores. The major department stores created elaborate Christmastime fantasies, using clockwork mechanisms that made people and animals appear to move. In 1900, Baum published a book about window displays in which he stressed the importance of mannequins in drawing customers. He also had to work as a traveling salesman.
In 1897, he wrote and published Mother Goose in Prose, a collection of Mother Goose rhymes written as prose stories and illustrated by Maxfield Parrish. Mother Goose was a moderate success and allowed Baum to quit his door-to-door sales job (which had had a negative impact on his health). In 1899, Baum partnered with illustrator W.W. Denslow to publish Father Goose, His Book, a collection of nonsense poetry. The book was a success, becoming the best-selling children's book of the year.
In 1900, Baum and Denslow (with whom he shared the copyright) published The Wonderful Wizard of Oz to much critical acclaim and financial success. The book was the best-selling children's book for two years after its initial publication. Baum went on to write thirteen more novels based on the places and people of the Land of Oz.
Two years after Wizard's publication, Baum and Denslow teamed up with composer Paul Tietjens and director Julian Mitchell to produce a musical stage version of the book under Fred R. Hamlin. Baum and Tietjens had worked on a musical of The Wonderful Wizard of Oz in 1901 and based closely upon the book, but it was rejected. This stage version opened in Chicago in 1902 (the first to use the shortened title "The Wizard of Oz"), then ran on Broadway for 293 stage nights from January to October 1903. It returned to Broadway in 1904, where it played from March to May and again from November to December. It successfully toured the United States with much of the same cast, as was done in those days, until 1911, and then became available for amateur use. The stage version starred David C. Montgomery and Fred Stone as the Tin Woodman and Scarecrow respectively, which shot the pair to instant fame.
The stage version differed quite a bit from the book, and was aimed primarily at adults. Toto was replaced with Imogene the Cow, and Tryxie Tryfle (a waitress) and Pastoria (a streetcar operator) were added as fellow cyclone victims. The Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to Pastoria II, the rightful King of Oz. It is unclear how much control or influence Baum had on the script; it appears that many of the changes were written by Baum against his wishes due to contractual requirements with Hamlin. Jokes in the script, mostly written by Glen MacDonough, called for explicit references to President Theodore Roosevelt, Senator Mark Hanna, Rev. Andrew Danquer, and oil magnate John D. Rockefeller. Although use of the script was rather free-form, the line about Hanna was ordered dropped as soon as Hamlin got word of his death in 1904.
Beginning with the success of the stage version, most subsequent versions of the story, including newer editions of the novel, have been titled "The Wizard of Oz", rather than using the full, original title. In more recent years, restoring the full title has become increasingly common, particularly to distinguish the novel from the Hollywood film.
Baum wrote a new Oz book, The Marvelous Land of Oz, with a view to making it into a stage production, which was titled The Woggle-Bug, but Montgomery and Stone balked at appearing when the original was still running. The Scarecrow and Tin Woodman were then omitted from this adaptation, which was seen as a self-rip-off by critics and proved to be a major flop before it could reach Broadway. He also worked for years on a musical version of Ozma of Oz, which eventually became The Tik-Tok Man Of Oz. This did fairly well in Los Angeles, but not well enough to convince producer Oliver Morosco to mount a production in New York. He also began a stage version of The Patchwork Girl of Oz, but this was ultimately realized as a film.
