[Passione] is a jolly, cozy, sentimental, thoroughly Broadway comedy, and not a good one….

There are signs that Innaurato meant the confrontation between Aggie and Berto to become a significant comic confrontation between two contrasting ways of life, but nothing much comes of it. Italian-American life as represented in Passione is such a welter of lusty, gusty, earthy, emotional, pasta-and-vino stereotypes that I'm surprised any Italian-American could have the face to write it. How, I wonder, did Innaurato manage to leave out an organ grinder and a monkey? On the other hand, Aggie and Sarah lack even a clear stereotype to sustain them; there is no consistent sense at all of where they might have come from, of what kind of life might have shaped them.

Passione is noisy and busy; dud jokes abound…. The attempts at tear-jerking are arbitrary and crass, and bringing down the first-act curtain on the sudden collapse of an old man is the cheapest trick in the book. (p. 387)

[The play is a] clumsy piece of hackwork…. (p. 388)