"The play occasionally dips into archness and ends on a predictable note, but, as written from a woman's point of view, it has some enlivening and, for men, some disheartening comments on male-female, husband-wife relations...offers two choice, contrasting roles.
New York Times theatre critic Frank Rich wrote: "Every once in a while, her [Pearson] play spills beyond its rigid formula to give us honest, even touching glimpses of its heroines' lives....Sally is the perfect Peters role - an indomitable waif adrift in the big city.
"[6] John Simon wrote in New York Magazine that " 'Sally and Marsha' feels like a memory play...It is almost as if Sybille Pearson, the fledgling playwright, had been given a set of theatrical building blocks used to death and asked to put them together in a way to coax new life out of them.
Impossible, alas; but Miss Pearson does give us a handful of funny lines, a thimbleful of touching moments, and a tiny peephole on what may become a valid theatrical career.
Bernadette Peters, having played some such Sally all her life, invests her part with enormous conviction and warmth, and incisiveness; Christine Baranski...conjures up moments that seem newly invented.