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Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling So Sad (1967)

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Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling so Sad

A Pseudo-Classical Tragifarce in a bastard French Tradition



FULLSCREEN VHS TRANSFERRED USING ADS TECH DVDXpressDX2 and ripped to avi with PocketDivx



Arthur Kopit wrote Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad 



while he was studying European theater on a postgraduate travel scholarship earned at 



Harvard. His aim was to enter the work in a school playwriting contest, never anticipating 



that it would bring him worldwide acclaim at the age of twenty-three. As its subtitle 



indicated, he wrote the play as a parody— "a pseudo-classical tragifarce in a bastard French 



tradition"—in the new, avant garde French theater of Arthur Adamov, Eugene Ionesco, and 



Samuel Beckett. It was this subgenre of the theater that, in 1961, Martin Esslin labeled the 



Theatre of the Absurd.



Kopit’s Oh Dad has the distinction of being a relatively rare phenomenon: an extremely 



successful first work staged in New York by a new and virtually unknown playwright. When Oh 



Dad opened at New York’s Phoenix Theatre on February 26, 1962, beginning a run of 454 



performances, it already had a production history, both in the United States and abroad. In 



fact, the play was published in 1960, the same year in which it was first staged at Harvard 



and then, professionally, at the Agassiz Theatre in Cambridge, Massachusetts. It was during 



it’s run at the Agassiz that it came to the attention of the staff of the Phoenix. Before 



the Phoenix mounted its extremely successful production, however, the work had already been 



staged in London, where it was directed by Frank Corsaro and starred Stella Adler as Madame 



Rosepettle.



In the New York staging, directed by Jerome Robbins, an experienced cast headed by Jo Van 



Fleet as Madame Rosepettle, Austin Pendleton as Jonathan, and Barbara Harris as Rosalie kept 



audiences delighted, making it a major box-office success. It also garnered the Vernon Rice 



and Outer Circle Awards, both significant honors.



The offbeat, dysfunctional characters—especially Madame Rosepettle and her son, Jonathan— 



caused some critics to complain about a lack of serious purpose in the play as well as its 



derivative elements, but the farcical and fanciful treatment of an overly-protective, 



domineering mother and her neurotic son gave New York and European audiences little pause. 



Most commentators could not argue with success and found the play a engaging spoof of 



everything from Tennessee Williams's Rose Tattoo to Freudian psychology.



The play moved to Broadway:



Morosco Theatre, (8/27/1963 - 10/5/1963) 

Preview: Aug 26, 1963   Total Previews: 1 

Opening: Aug 27, 1963       

Closing: Oct 5, 1963   Total Performances: 47 



Opening Night Production Credits 



Produced by Roger L. Stevens and T. Edward Hambleton; Produced by arrangement with The 



Phoenix Theatre (T. Edward Hambleton: Co-Founder and Managing Director; Norris Houghton: 



Co-Founder)



Written by Arthur Kopit; Incidental music by Robert Prince



Directed by Jerome Robbins



Opening Night Cast



Ernesto Aponte  Bellboy    

Alix Elias  Rosalie    

Gary Garth  Bellboy    

Hermione Gingold  Madame Rosepettle    

Carl Guttenberger  Bellboy    

John Hallow  Head Bellboy    

Thom Koutsoukos  Bellboy    

Peter Lenahan  Bellboy    

Jamie Sanchez  Bellboy    

Sandor Szabo  Commodore Roseabove    

Sam Waterston  Jonathan  



Awards 

  

1962 Drama Desk Award Vernon Rice Award  Written by Arthur Kopit [winner]  



Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling So Sad (1967) 



http://us.imdb.com/title/tt0062067/



Directed by Richard Quine    Alexander Mackendrick   

  

Writing credits 

Arthur L. Kopit   (play)

Ian Bernard   (screenplay)

Herbert Baker and Pat McCormick  (narration)  



 Rosalind Russell ...  Madame Rosepettle 

 Robert Morse ...  Jonathan 

 Barbara Harris ...  Rosalie 

 Hugh Griffith ...  Commodore Roseabove 

 Jonathan Winters ...  Dad (Narrator) 

 Lionel Jeffries ...  Airport Commander 

 Cyril Delevanti ...  Hawkins 

 Hiram Sherman ...  Breckenduff 

 George Kirby ...  Moses 

 Janis Hansen ...  The Other Woman 



The film has many flaws of sex comedies of late the 1960s 'camp' period but the most glaring 



and bad element of this film is undoubtedly the unfunny and intrusive  'narration' by 



Jonathan Winters.  The would probably have been a film that did not stand the test of time 



in any case but it is Winters' performance that truly drags this vehicle down.

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