" Adaptation of Leon Abrams and George Abbott's play ran into trouble with the Catholic Legion of Decency in 1934--one presumes over the frank talk and implications of man-woman intimacy--yet the most surprising thing about this piece is the fact Aline MacMahon's plain, resentful Olga has a romantic past at all! Possibly conceived at one point as a lesbian, the character of Olga (who trades in her head-bandanna and dungarees for make-up and a frilly dress) is the story's central focus, and yet she doesn't emerge as a convincing, fully thought-out creation"
