Groucho in Mo Part 2

 A couple years ago I blogged about a 1960 television version of The Magical Monarch of Mo that was being considered as a vehicle for Groucho Marx. The idea never amounted to anything, and sadly died away. Since then, I've come up with a copy of the script for the show that was written by Gore Vidal. It's an interesting read, especially when combined with the promotional pamphlet that was designed to entice sponsers!

The idea put forth in the pamphlet is that Groucho would play a contemporary family man, who escapes to the Land of Mo when everyday pressures become too heavy. It says that a script is being written by Frank Gabrielson in collaboration with Robert Dwan. Gabrielson had already adapted The Marvelous Land of Oz for Shirley Temple, as well as creating a stage version of The Wizard of Oz that was used for many years by various theaters. Dwan was the director and editor of Groucho's quiz show You Bet Your Life. His role was to "...help tailor the title role for Groucho's unique and flamboyant talents...". A script written by Gore Vidal is mentioned as something that may be integrated into this concept. But the script by Vidal is really a straightforward fairy tale, and fairly faithful to the source material. There's nothing to indicate that it was intended for Groucho, or the concept outlined in the pamphlet.

In the script, we are introduced to the Magical Monarch, who is also referred to simply as Mo. He introduces us to his country, and his daughter Pattycake who has lost her temper. In Mo, we are told, everyone keeps their temper (which resembles a square cut jewel) in a locket. After Pattycake runs off to fetch an axe, in order to cut down a hat tree that has offended her by growing last season's hats, we are introduced to Timtom. He is a young hunter who is in love with the princess. When he declares his love, she cuts off his head with the axe intended for the tree. The Monarch restores Timtom's head, backwards at first, and Timtom declares his intention to marry the princess.

The Monarch's three wise men rush in and and announce that King Scowleyowe (spelt Scowleyow by Baum) has set the Purple Dragon upon the kingdom of Mo, with the demand that the Monarch surrender and grant him Pattycake's hand in marriage. The Wise Donkey is summoned and they all learn that the princess's temper was stolen by King Scowleyowe. The Monarch sets off with Timtom to restore the temper, and both are promptly eaten by the dragon.

In Act 2, the Monarch and Timtom are inside the dragon, which is filled with neatly labeled shelves of things the beast has devoured - including a television set! Scowleyowe appears on the TV and informs the monarch that his white magic will not work inside the Purple Dragon. The Monarch decides he will have to defeat the dragon with Tattletale Gray Magic, better known as psychology. Through flattery and kindness, they manage to escape the dragon.

They head off through the Haunted Forest, where they meet Maetta, the Queen of the Forest. She reveals Scowleyowe's weak point to the Monarch, and he and Timtom set off in disguise to defeat the villain. It turns out that Scowleyowe's weakness is a fondness for riddles, and after the Monarch trades a riddle for the temper, the wicked king is taken off in a straitjacket. Pattycake's temper is returned, and she and Timtom are free to marry. The script is 39 pages long, and dated July 31, 1959.

The original book by L. Frank Baum is actually a series of nonsensical stories, and the script incorporates a number of characters and ideas without accurately following any one tale. Vidal also added a number of his own touches, particularly the methods of defeat for both the dragon and Scowleyowe. There would have been plenty of additional material to draw upon if this version of the show had indeed become a series. But clearly the idea of a show based on Mo had been in the works before the idea of bringing Groucho on board, and catering to his particular talents.

Bouncing Along With Billy

W. W. Denslow covered a lot of ground in his artistic career. Newspaper artist, poster artist, designer of book covers, theater designer, children's book illustrator, and comic postcards are all among his credits. Another was innovative comic strip artist.

In 1901, Denslow created Billy Bounce. This was an early comic strip that made use of a continuing story line, rather than a simple weekly gag. Denslow played with novel layouts in the early pages, and his designs jumped across the paper.

Here is a later episode, from early in 1902. The complete date is missing as the page has been trimmed and is a bit rough. By this time the strip has become much more standard, in layout and concept, than some of the earlier examples. Denslow quit the comic later that year, but it continued for several more years under another artist.  Some of Denslow's Mother Goose characters are included in this particular episode. (Click on the picture for an enlarged image of the page.)

The strip was popular, even after Denslow gave up drawing it in 1902. Buttons were produced to publicize it, and it even inspired a brand of cigars. Two button designs are known, but it is unclear whether they were drawn by Denslow. The one I'm showing does not appear to be his work.

Toys From the Land of Oz

Back in January, I attended the opening of an exhibition at the National Museum of Toys and Miniatures in Kansas City, Missouri. The show is called Over the Rainbow: Toys from the Land of Oz, and was organized by Jane Albright. Her aim, with the assistance of 20 or so other collectors, is to show as many vintage Oz-related toys as possible.

Along with the toys are a number of other rarities, from film costumes to souvenirs from the 1903 Broadway production. The show runs through August 20th and is well worth visiting if you happen to be in the area!

And Another Variation

Here's yet another example of a variation within the Rand McNally covers designed by W. W. Denslow. This is a later printing of Whoso Findeth a Wife, by William LeQueux. The image is the same as the original printing,  but the background is now a rich teal color, and the design has been slightly simplified.


On the original, the letter bears three seals printed in black. The newer version drops the black ink, which was a fourth color, and consequently loses the effect of the seals. The gilt ink seems to be replaced by a duller gold, and Denslow's signature seahorse has vanished.

As I've said before, the variations on these books are both plentiful and mystifying!