Initially not regarded to have much ability, she developed herself as an actress and rose to become one of the elite members of the theater: Sara Torsslow was to become the leading tragedienne of the Royal Dramatic Theatre, and as such was referred to as the successor of her famous mentor Maria Franck.

[3] She was appreciated for her passionate way of acting and her deep and powerful voice and compared to Adelaide Ristori in her style, and was mostly played tragic roles, where "her male voice, the grand figure, deep emotion and the grotesque gestures could display themselves freely," and the critic Wikström noted her performances to illustrate "an almost terrible, natural truth.

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] The Torsslow couple, in their position of star actors, launched a strike in which they demanded the reforms be stopped and the disciplinarian rules abolished.

[1] The discontent of the disciplinarian system was voiced by Elise Frösslind who, when director Puke asked her if she was satisfied with the settlement replied: "Oh yes, the only thing missing is the flogging.

[1] Ulrik and Sara Torsslow initiated a struggle against the royal theater monopoly of 1798 which lasted for eight years and eventually resulted in its abolition.

Ulrik and Sara Torsslow enjoyed a renewed golden age of their careers at the Mindre teatern, where they were praised by critics as "where the spouses during the tenure of a few years united to a Twin Pair of the First Order in the Sky of Art.

Upon her death, her career was described: "As the genius of Schiller created Elizabeth of England, speaking in the halls of her castle with Leicester, or in the park of Fotheringay with May Stuart, such was the living image of Elizabeth in the performance of Mrs T. at the Royal Dramatic Theater; as Victor Hugo portrayed Gudule in Notre-Dame with the eye of his imagination, such did Mrs T. portray her at Mindre teatern; and as Scribe painted the Princess, in which his famed play which, suited for the Swedish stage named »Strozzi och Martino», named the dowager duchess, so was she painted by Mrs T. at the Djurgårdsteatern.