Tonya Mosley

Yeah, right.

And, you know, there are often these these shows that try to portray this world and they never quite get it right.

But this this particular piece seemed to do that.

But what strikes me the most is that she's talking about her nemesis, but she's also talking about herself.

She's talking about herself.

Take me to that scene.

Take me to that particular piece of dialogue.

Okay, let's talk about Hedda.

It was written in 1891.

Mm-hmm.

But what fascinates me is its persistence.

It just seems that across generations, there is always this desire, this need to unpack it, to understand it in order to understand the moment that we're in.

And I'm just curious, what was it about Nia DaCosta's Hedda that really, aside from the fact that you two had worked together previously, you knew each other well, but her version of Hedda that fascinated you?

A couple of different ways.

Number one, I mean, casting you as Hedda is the biggest way.

And I want to say there's a particular kind of rage within Hedda.

But it translates a little bit differently with you being a black woman.

Can you talk about that for you and how you kind of thought about that, how it kind of translated for you as you embody that role, that restraint, that ability to be able to articulate that rage, but it come out in this very specific way that is...

So many different ways.

Yeah.