[2] In 1797 her mother married Emanuel Ericsson, a servant of the royal household and later a pad maker, and Charlotta took the name of her stepfather.

She made several trips to study drama in France and Italy, where she reportedly regarded Mademoiselle Mars as a role model, and she is alongside Sara Torsslow, Ulrik Torsslow and Nils Almlöf credited with being one of the role models of the realistic acting method which replaced the old 18th-century stylistic acting method in 19th-century Sweden.

[1] Described as "a clear and above all vivid intellect, an uncommon general knowledge and a by then unusually natural way of acting, which in combination with an appearance very much to her advantage and high quality sense of costume made her much appreciated by the audience as a cultivated lady within salon comedy.

In it she displayed all the qualities which typifies the French or more correctly the Marsian school which even in the most intense moments never neglect confidence and elegance in posture, and an acting, studied and skillfully performed in the finest nuances but still so natural that hardly even a trace was visible of any conscious effort.

Marianne Ehrenström described Charlotta Eriksson as a woman with natural grace who was much loved as an actress, and M. J. Crusenstolpe said of her: "Mrs E. can be photographically painted with one word: elegance.

"[2] In contemporary press, the star actresses Sara Torsslow, Charlotta Eriksson and Elise Frösslind were compared to a rose or a tulip, a jasmine or a daisy, and a lily or a forget-me-not, by which Torsslow was claimed to represent "The Deeply Moving", Eriksson "The Sensitive Grace and Feminine Gracefulness" and Frösslind "The Timid Sweetness, Wit and Naivety".

[1] Charlotta Eriksson participated in the great strike known as the First Torsslow Argument, and signed an article of protest along with several other of the most influential actors 4 July 1828 against initiated financial reforms which caused great attention in the press,[2] but returned to her position when the demands of the strike was met and the reforms stopped.

Charlotta Eriksson lost her position at the Royal Dramatic Theatre, officially because the theater management claimed they could no longer afford her.

When Högqvist was given the role of Victorine by Dumersan, Gabriel and Dupeuty (1836), a review in Teater och Musik wrote: However, she belonged to the theaters' elite actors until her retirement and her late successes was Catherine II in Charlotte Birch-Pfeiffers' Favorite (1841) and Duchess of Marlborough in Scribes A Glass of Water (1841).

Also after he retirement, Charlotta Eriksson was active onstage because of her interest of acting, though she no longer had financial reasons to work.