NYTimes review of "Henri"
THE PLAY the next afternoon drew a near-capacity house. Such a difference, she found, seeing it with full scenery and before an attentive audience. There was an electric force to it that was less resonant in the rehearsals. How nimbly it unfurled, following the music teacher backward in life, from full-fledged Alzheimer’s to normality. And there now was her husband, in a bathrobe, shuffling, his mind lost in an unreachable world, a fellow nursing home resident. Yes, the shuffle looked good, natural. He had it down all right.
When it ended, Ms. Taylor got emotional. She had seen two rehearsals, but had not been moved the way she was now. As she sorted this in her mind, she realized that it was the first time what she perceived to be the play’s meaning had reached her. It was how one got to a moment in life when possibility ends.
“What it meant to me is all of the things we make happen and live in life are over,” she said. “It wasn’t just going to the nursing home and losing the people close to you or not having a good meal. It was the end of the struggle. And that was wrenching.”
Las Vegas Sun review of "Henri"
"For all the thought and writing in “Henri,” the dialog is scant. There are long stretches of silence. In one scene, Henri attempts to peel and slice a hard-boiled egg. He struggles with his grip and with his knife and fork, as this egg slips around his plate. He grimaces, struggling to achieve something that decades earlier was a task he performed without thought. You watch Henri with that egg, and your heart goes out to him."
Las Vegas Weekly review of "Henri"
"James Williams, as the elder Henri, is a master of physicality. Wheelchair-bound in the facility he still conveys a stubborn hold on his identity. Later in the play (and earlier in his chronology) his circular movement as he struggles in his apartment presents an alarmingly clear picture of confusion and determination to hold onto the touchstones of his life."