It's really about realizing we can own a piece of each other's successes, and in so doing, learn to become successful ourselves. Lois Shelton, Foxglove Films         SPECIAL FEATURE March 18, 2009 Natasha Richardson, Tony Award-winning actress whose career melded glamorous celebrity with the bloodline of theater royalty, died at 45, following a skiing accident. Ms. Richardson's grandfather was Sir Michael Redgrave, she was the daughter of Vanessa Redgrave and film director Tony Richardson known for “Tom Jones” and “The Loneliness of the Long-Distance Runner.” Her mother is Vanessa Redgrave, her aunt Lynn Redgrave, and sister, the actress Joely Richardson. Natasha Richardson was married to Liam Neeson. They have two sons. “She was a blond, beautiful English actress, he was her ruggedly handsome Irish co-star, and the two were thought to be courting right on stage, during a New York production.” Her performance, nominated for a Tony Award, was vibrantly sensual, and her scenes with her co-star, Mr. Neeson, were acclaimed as sizzling and electric. Ms. Richardson was an intense and absorbing actress who was unafraid of taking on demanding and emotionally raw roles. Classically trained, she was admired on both sides of the Atlantic for upholding the traditions of one of the great acting families of the modern age. She came to critical prominence in England in 1985 as Nina, Chekhov's naïve and vulnerable ingénue in “The Seagull,” a role her mother had played to great acclaim in 1964. It was a road production, and when it reached London, Vanessa Redgrave joined the cast as the narcissistic actress Arkadina. The production became legendary, but working with her mother intimidated her. “She rehearsed like a tornado,” Ms. Richardson recalled in a 1993 interview with The New York Times Magazine. “It was completely crazy. She rolled on the floor in some scenes. I was terrified of being on stage with her.” But like her mother, Ms. Richardson was known for disappearing into a role, for not capitalizing on her looks and for being drawn to characters under duress. From The New York Times