“Both men sang with a heft and clear English diction that rendered the titles superfluous.”
The New York Times  –  In the Penal Colony  –  American Opera Projects & String Orchestra of Brooklyn


“Musical director Mila Henry keeps the boozy performances precise, clear, and on-pitch.”
New York Theater Now  –  SMASHED: The Carrie Nation Story  –  FringeNYC

“Pianist Mila Henry handled the very different and very challenging accompaniments masterfully.”
The Washington Post  –  Fierce Grace: Jeannette Rankin  –  Library of Congress

“The highlight of the concert, however, was Christopher Cerrone’s heart-breaking, deviously funny, and achingly hopeful “I Will Learn to Love a Person.”…Ms. Henry’s piano was sublime…”
Feast of Music  –  Stone Mason Projects  –  Wilmer Jennings Gallery

“…Mila Henry, pounded out some minor notes. […] The piano played a creeping, tense melody.”
The New Yorker  –  “Stop, Frisk, Sing” (The Talk of the Town)  –  Two Sides Sounding

“Pianist Mila Henry masterfully played the devilishly difficult score, creating a sound world, along with the occasional electronics, that heralded an orchestral score of incredible range and color.”
OperaPulse  –  La Reina  –  InsightALT Festival

“The accompaniment, handled marvelously by Mila Henry, is clear to have much jazz and pop influence and is successful in creating a whimsical nuance for the fantasy.”
OperaPulse    Love/Hate  –  OPERA America New Works Sampler

“With a simple formula of three superb vocalists bolstered by some very capable support at the piano, a careful mix of vocal tapestries melded together.”
ASCAP  –  AOP25: Celebrating Composers & the Voice  –  The Phoenix Concerts

“I love her. I couldn’t do these shows without her. I tell the cast ‘Remember you are never out there alone on stage. Miss Mila is always there with you and she’s never gonna let you down.'”
New York Theatre Review  –  Interview with  John C. Hume    Don’t Tell Mama


“Four talented musicians […] violinist Helen Yee, pianist Mila Henry, electric guitarist James Moore and Kamala Sankaram on accordion, played Mr. Marks’ adventurous and eclectic score with passionate perfection, conjuring an era of decadence and dominance.”
StageBuddy  –  Mata Hari  –  PROTOTYPE

“…a sophisticated score that melds chain gang, soul, funk, minimalism, blues, and a bit of traditional opera […] and produced a haunting tapestry of sound, which was played by a versatile band…”
DC Metro Theater Arts  –  We Shall Not Be Moved  –  Opera Philadelphia

“…six players to accompany the singers: percussionist Brian Shankar Adler, bass player Greg Chudzik, pianist and harmonium player Mila Henry, flutist Margaret Lancaster, violinist Andie Springer, and violist Philippa Thompson. Although they were few in number, they presented Sankaram’s fascinating and repetitive fusion of Western and Indian music with ever increasing intensity.”
Opera Today  –  Thumbprint  –  LA Opera