Philip Wylie’s Generation of Vipers (1942) presents a scathing critique of American values, institutions, and traditions. Wylie unabashedly targets "momism," a term he coined to describe the disingenuous nature of American motherhood, alongside an exploration of societal sexual norms.

Terance McNally’s And Things That Go Bump in the Night (1964) emerges as a theatrical piece steeped in the absurd and nightmarish. Like Oh Dad, it delves into the chaos of a dysfunctional family, where reality and fantasy blur.

Edward Albee’s illustrious works, The American Dream (1961) and Who’s Afraid of Virginia Woolf? (1962), echo the themes and techniques found in Oh Dad. These plays, contemporaneous with Kopit’s creation, invite intriguing comparisons in their exploration of societal and familial themes.

Arthur Adamov’s absurdist masterpieces, Les Retrouvailles (“The Recovered,” 1952) and Comme Nous Avons Ete (“As We Were,” 1953), similarly probe into the theme of destructive parental dominance, resonating with the thematic core of Kopit’s Oh Dad.