While immersing himself in the depths of European theater, Arthur Kopit penned Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad with the fervor of a young scholar on a prestigious Harvard travel scholarship. His original intention was humble—to simply enter it into a collegiate playwriting competition. Little did he foresee that this creation would catapult him to international fame at the tender age of twenty-three. As the playful subtitle suggests, Kopit crafted the piece as a parody—a "pseudo-classical tragifarce in a bastard French tradition." He drew inspiration from the avant-garde French theater, echoing the works of luminaries like Arthur Adamov, Eugene Ionesco, and Samuel Beckett. This innovative style became known as the Theatre of the Absurd, a term coined by Martin Esslin in 1961.

To the delight of many, Kopit's masterpiece conquered the contest and earned a production at Harvard, setting the stage for its meteoric rise. The buzz it generated was so immense that it was swiftly transported to a commercial venue in Cambridge, Massachusetts—the Agassiz Theater—where it was showered with glowing reviews. Such accolades caught the eye of the Phoenix Theatre in New York, a celebrated Off-Broadway institution known for its experimental repertoire. Debuting on February 26, 1962, the play dazzled audiences for an impressive 454 performances. For a debut playwright without prior New York credits, this was nothing short of miraculous. The production also clinched the prestigious Vernon Rice and Outer Circle Awards.

The play's eccentric and dysfunctional characters—chiefly the overbearing Madame Rosepettle and her hapless son, Jonathan—provoked some critics to grumble about its apparent lack of serious intent and perceived derivations. However, the whimsical and farcical portrayal of an overprotective mother and her neurotic offspring resonated deeply with audiences on both sides of the Atlantic. The majority of critics, while unable to ignore its success, appreciated the play as a delightful satire poking fun at everything from Tennessee Williams’s Rose Tattoo to the intricacies of Freudian thought.

Though initially labeled as an absurdist like his contemporary Edward Albee (Who’s Afraid of Virginia Woolf?), Kopit’s later works demonstrated his versatility and bold exploration of different theatrical genres. A meticulous artisan, he has ventured into diverse forms and subject matters throughout his career, firmly establishing himself as one of America's most inventive dramatists. Oh Dad endures as a kaleidoscopic escapade, a cherished staple for community theaters and repertory companies worldwide. While some argue that its characters may lack psychological depth, they are undoubtedly etched in the memories of those who experience them.