Andreach concedes that differences in setting and style separate the two decades of Henley's career: the plays from the earlier decade comprise single, representational sets in the Deep South of Mississippi and Louisiana while the plays from the 1990s are multiple, symbolic sets in Southern California and other locations. He contends, however, that whether dramatizing naturalistically or experimentally, Henley does not stray far from her original concerns. Andreach points out that while the self-discoveries of the two decades differ, Henley's goal is the same: characters who prove themselves worthy in a culture that denigrates them.
Andreach's analysis features close readings of Henley's entire corpus. He positions her final three works of the 1990s as a trilogy that reconciles differing modes of self-discovery.
