Arthur Kopit burst onto the world theatrical scene right out of
Harvard in 1959 with his international hit Oh Dad, Poor Dad,
Mamma's Hung You in the Closet and I'm Feelin' So Sad, which
announced Kopit's comic and architectural brilliance with the
monstrous whirlwind, Madame Rosepettle. Indians used Buffalo Bill
and the formal of a Wild West show to dramatize America's capacity
for amnesia and the dangers of changing historical fact into
fiction: a demonstration of denial which was the decade's most
profound theatrical metaphor for the tragedy of Vietnam and
America's floundering sense of itself. Wings extended that inquiry
to personal tragedy, a hallucinatory poetic study of a stroke
patient's loss of speech.
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