Drama criticism reached maturity in China during the Ming-Qing era with the popularity of musical drama. In addition to the mainstream male critical tradition, Ming-Qing women also left their own heritage of drama criticism, heretofore rarely noticed by Chinese drama scholars. These critical materials for the most part were women's commentaries on scripts. They appeared as prefaces, postscripts, or reviews in the printed texts of plays, and sometimes in their own or others' poetry or prose anthologies. Up to now, at least 28 plays are known to be commented on by Ming-Qing women, among which The Peony Pavilion by Tang Xianzu of the late Ming received their most enthusiastic attention. The Three Wives of Wu Wushan's Commentary on The Peony Pavilion, printed in 1694, was a good illustration of Ming-Qing women's interest in, appreciation of, and contribution to, this masterpiece of classical Chinese drama. My article examines Ming-Qing women's drama criticism, especially The Three Wives' Commentary, in terms of critical angle, intent, focus, and style, which, I conclude, show these main characteristics respectively: female perspective/feminist concern, self-expression and representation, more emphasis on human feelings than on rhetoric and melody, and empathetic understanding instead of judgmental evaluation. With the aim to complement the study of Ming-Qing women's literary expressions and contributions, I illustrated in this article their significant critical undertakings besides creative writing. Their play critiques as a whole revealed not just a different kind of tradition, but also different kinds of critical strategies, from the mainstream male interests in traditional Chinese drama criticism.