[3] Bootycandy is a series of comedic scenes primarily following the character of Sutter, a gay African American man growing from adolescence to manhood.

[9] During his time at Columbia, O'Hara interned at the Manhattan Theatre Club and the Joseph Papp Public Theater, where he was mentored by notable African-American playwright George C. Wolfe, author of The Colored Museum.

[10] -14: An American Maul takes place in a future America where a new form of cotton is created that requires manual labor to be grown and picked.

The Atlanta plot-line centers on a young Jewish couple living in the South who dress up in Civil War era attire to attend the premiere of Gone with the Wind.

In Berlin, a Third Reich officer at a Nazi death camp is in love with his prisoner, a black, male cabaret performer, yet still allows him to be tortured.

O'Hara has said that while the play is in many ways autobiographical and the character of Sutter particularly mirrors his own experiences, it doesn't necessarily tell the exact story of his own life.

[22] Here, it won the Obie Award's Special Citation shared between O'Hara and actors Philip James Brannon, Jessica Frances Dukes, Jesse Pennington, Benja Kay Thomas, and Lance Coadie Williams.

[23] Two of the vignettes from BootyCandy - Dreaming in Church and Genitalia were developed and produced by Worth Street Theater Company at The Tribeca Playhouse as part of theirSnapshots 2000 series.

He has a second offering here as well, a jokey skit in Wayans brothers’ mode about black women talking on the phone about the decision by one of them to name her baby Genitalia.

Performed by Derek Lively with fervent, singsong mischief the monologue ends up thundering on some obvious points and once Mr. Lively strips off his robe to disclose his own secret his delivery is hilarious.” Barbecue centers on around the O'Mallerys, a dysfunctional group of siblings who come together for a park barbeque in order to stage an emergency intervention for their sister Barbara, whose drug habit has gotten out of hand.

[26] New York Times theatre critic Peter Marks had a similar reaction in his review as he stated the play was "clever" yet "all over" the map.

[27] Marks also reviewed O'Hara's play Antebellum in 2009, and felt that while the show had a "rich, imaginatively expressive intelligence," overall it was "overthought" and "garish.

"[27] News Herald reporter Bob Abelman had a similar take on the show, which he found to be a "brilliant concept" but "by the end of the night is gone with the wind.

"[28] Isherwood also praised O'Hara's ability to alternate between moments of comedy and drama as he stated that "as funny as he can be when writing in ribald ′In Living Color′ sketch-comedy mode, Mr. O’Hara also reveals a more probing intelligence in the more serious scenes"[28] of the play.

LA Times theatre critic Charles McNulty praised O'Hara for "grappl[ing] with the conflicts and contradictions inherent in being a member of more than one oppressed group" and "tackling the challenge of writing about this experience in a culture that expects its minority playwrights to follow paths prescribed by white institutions" within his work.