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The Matriarch of a Broken House: Tonia E. Anderson on the Grief and Guts of Richard III

In the bloodstained halls of the House of York, few voices carry as much weight—or as much sorrow—as that of the Duchess of York. As Atlas Shakespeare Company prepares to launch the final chapter of its Wars of the Roses cycle, actress Tonia E. Anderson is stepping into the role of the woman who birthed a king and a monster.

Running from February 17 to March 1 at the Wild Project, this production of Richard III offers a raw, “character-driven” look at the cost of ambition. While Richard schemes for the crown, Anderson’s Duchess stands as a testament to the human wreckage left in the wake of civil war.

The Weight of the Crown

For Tonia E. Anderson, the Duchess is a character defined by the ghosts of her past. In approaching the role, Anderson focuses on the complex, often agonizing relationships the Duchess shares with her surviving children and grandchildren.

“Her feelings for all of her family are colored by the fact that she lost the love of her life in his pursuit of the crown,” Anderson explains.

This historical trauma—the death of Richard, Duke of York—serves as the foundation for her performance. The Duchess is not just a witness to the current political upheaval; she is the matriarch of a dynasty that has been “irrevocably shattered.”

The Challenge of the “Hidden Agenda”

One of the most compelling aspects of this production is its status as a psychological thriller. Anderson notes that the biggest challenge lies in navigating the information gap: keeping track of what the Duchess truly knows about Richard’s “hidden agenda.”

Richard may be a “self-congratulatorily sociopathic villain” to the audience, but to the Duchess, he is a son. Balancing that maternal history against his mounting atrocities creates a tension that is palpable throughout the play’s five acts.

A Mirror to Modern News

Anderson believes that Richard III is far more than a period piece. She sees it as a “very personal story set in a world of quick and violent governmental change,” something she feels will resonate deeply with modern New Yorkers.

When asked for a favorite line, Anderson points to a moment of high distress from her daughter-in-law, Queen Elizabeth:

“O, cut my lace asunder, that my pent heart may have some scope to beat, or else I swoon with this dead-killing news!” “I think that just about sums up how everyone I know feels about the news these days,” Anderson remarks, bridging the gap between 15th-century palace intrigue and the 21st-century 24-hour news cycle.

Why Atlas Shakespeare?

What drew Anderson to this particular project was the vision of company founders Adriana Alter and Alexander Nero. They treat Shakespeare not as a “mummified” artifact, but as a living, breathing sequel to the Henry VI trilogy.

“When you approach the work as it was intended, and live in the character’s shoes, you can reach new heights in both your craft and your joy,” Anderson says. “Yeah, I wanted some of that!”

Join the House of York

Don’t miss Tonia E. Anderson and the rest of the Atlas Shakespeare Company in this “bloodsoaked finale” to a legendary saga. It is a portrait of a family’s collapse and a cautionary tale that remains as sharp as a live sword today.

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