Heninurs centers around two shabbily-dressed anxious teenage girls, Henrietta (Hen) and Ursula (Urs) who obey the word of their unseen father (whose name is not revealed, though we can assume is an ode to Adam) with blind submission. Man's power of his two girls (a term he lovingly employs) is deceptively manipulative as he reconfigures narratives taking place beyond the confined space of the limited interior of the room which Hen and Urs are living in – and have lived in for their entire lives.  Inauspiciously, seated among the two girls is a worn out (though well dressed) black woman named Ma who cannot speak. She is gripped with severe pain throughout the story for reasons only to be answered by you imagination.

The curiosities of this isolated room grows throughout the play. For one, the commanding man (Adam-like character) is heard but never seen. His erratic diatribes are startling and abusive. At one eruptive moment, the mention of the evil spirit "Lilith" is met with a retribution of rage and demonic accusations. Almost as if suddenly, a stunning woman appears in the space and is persuading the two girls that she is their mother, Plarissa. An outraged Adam storms forward almost immediately, directing his wrath at the presence of the "demon" who has just approached and contaminated his abode. Plarissa begs for compassion, that she wants her girls to life a life beyond "this confinement."

The man (Adam-figure) of the story rages that Plarissa is the demon Lilith in disguise. He violently diatribes that Lilith wants to eat the children's flesh – her own children – to satisfy her demonic urges. This gesture and the acceptance of it by Hen and Urs displays Adam's megalomania and toxic control over his children (or are they, you begin to wonder).

The harshness of Allouche's story stems from the lore of the Midrash of Lilith – an account of the first woman god had created. As it goes, Lilith was created, like man, from dust and was man's equal. But upon her disobedience of refusing to be man's subservient, she was cast beyond the garden of eden. And god proceeded to make for man a women of his own choosing, one from his flesh – Eve. 

The incestuous gesture of Heninurs symbolizes the manipulative nature of early man (or yet still?) – that they'd rather be with being which is made to their will than one of their own.

Such deception is overwhelming for Lilith who has, upon arriving to see her girls, been demonized, repulsed, and physically apprehended by her own children. The emotional hurt and distrusting nature of the characters of Heninurs suggest that the harrowing narrative unfolding on stage has perhaps been perpetuated since.

The monotony of space travel (everything is running normal) is juxtaposed with immediate panicky moments of when things could be collapsing (a blown out chip, for example) showing how mentally demanding Molly’s job really is. In an emotional moment, Molly tells us (paraphrased) “It’s so strange. I have so much time and don’t know what to do with all of it. Then suddenly, my life is in danger and another 5 seconds would save me.” From this, we begin to understand and sympathize with Molly’s struggle with staying positive and in control of her emotional state.
 
Inauspiciously, Molly’s colleagues in Houston are toxic misogynists who need her to act a certain way because of corporate interests. They require that she record herself in her craft so they can broadcast the journey and earn more funding. As one would assume, they don’t return her requests for a broadcast of televised sports – “to keep the bandwidths open for mission specific data.” That imbalance of give and take sets the tone for the environment in which Molly has to overcome.

​On top of this, we learn that Molly’s ex-husband died while on a similar space mission when he had gone out for a spacewalk without his tether. The chance of finding him, floating around in space haunts her in her solitude.
 
The extent of Molly’s toxic environment is contextualized when Molly dons her spacesuit which is covered in corporate sponsors’ logos. It is then that the audience is beckoned to question whether Molly is better off untethering herself from her relationship with Earth entirely and manning her mission on her own.
 
In contrast to Molly’s mission, her personal journey takes place in the depths of her psych. Treaday’s riveting performance has the audience gripping their chairs and wiping their tears as she faces every doubt she’s ever had in her expedition to the red planet.

Chorus in Yiddish:
ay, s’iz gut,
zingt zhe ale mit:
lebn zol kolumbus,
trinkt briderlekh lekhaim!
o lebn zol kolumbus
far dem land dem nayem!
zayt tsufridn,
gleybt nit in di trombes.
shrayt zhe yidn:
lebn zol kolumbus!

Chorus in English:
Ay, it’s great,
everyone sing along:
Long live Columbus!
Brothers, drink a toast to life--l’ḥayyim!
Oh, long live Columbus
for discovering this new land!
Be merry!
Pay no heed to the grumblers.
Jews, shout:
Long live Columbus!