The OZ stories have been around since 1902...on paper (whereas the PETER PAN story originated in 1904 on the stage). I do not know when OZ first had a stage adaptation, assuming there was one before the movie was turned into a stage musical.
You bring up the film and merchandise, which is not related to what I argue. I argue that the PETER PAN *theatrical* franchise is the most successful of any other franchise.
Yes, Tams-Witmark licenses dozens, if not hundreds, of production of THE WIZARD OF OZ (the stage adaptation of the film). As does Samuel French for PETER PAN (the Comden/Green/Charlap/Leigh/Styne version). However, I am unaware of any other related stage version of the OZ stories other than WICKED and THE WIZ. (If there is, please inform me. My experise is with PAN and not OZ.)
PETER PAN has been ongoing on stage since 1904 and has multiple adaptations. There's the original play, the John Caird/Trevor Nunn adaptation, the ballet, the revised pantomime, the current pantomime, the Bernstein version, the Piers Chater-Robinson version, the Stiles & Drewe version, the Comden/Green/Charlap/Leigh/Styne version), the Disney Cruise Ship version, the Disney on Ice version, the Lookingglass version, the Peter & the Starcatchers musical that is in development, the Finding Neverland musical that is in development, The Lost Boys which is currently playing off-Broadway, the Barrie play that Ron Palilo wrote and did in upstate NY a few years ago, and the new "in the round" arena production that is currently touring the States.
And those are the productions I could name off the top of my head. Again, I do not have the research of OZ on stage, but I would bet that if you add the cumulative grosses from THE WIZARD OF OZ, THE WIZ, and WICKED that it could not altogether surpass the cumulative grosses of those productions which I named above (adjust for inflation).
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
