In this short essay, Brustein examines Kopit's dramatic career as of 1966. In addition to discussing the playwright's other work to date, he touches on the significance of Oh Dad.

Kopit also borrows avant-garde techniques without adding anything original of his own, but whereas Schisgal wants to entertain the middle classes, Kopit wants to ridicule them: his short pieces are semi-disguised acts of aggression against the very, domestic values Schisgal celebrates. Kopit's derision, however, is often combined with petulance, and since it is primarily aimed against overprotective mothers and insensitive fathers, it hardly seems very daring or brave. There is something a little juvenile about Kopit's writing; for him, the theater is mainly a medium for pranks, an intention he suggests in his looping, longitudinal titles. In his most notorious work, Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad, the title...