This work asks questions about domestic disturbance and perceptions of difference as I investigate Queen Anna’s participation in Ben Jonson’s Masque of Blackness (1605), a notorious court spectacle in which the queen consort performed while visibly pregnant and (problematically for modern readers) in blackface. While the masquers were not strictly Amazon women in this production, they arguably echoed the figures as a chaste community that takes direction from a moon goddess. Importantly, Amazons frequently suggest the possibility that women can disrupt patriarchal holds over the domestic sphere and show male subjugation to be a constructed system rather than a natural condition. In turn, Anna’s participation in Blackness and its 1608 follow-up, The Masque of Beauty, allows for readings of a figure who frequently clashed with her husband, making use of political alliances and aesthetic collaborations in order to strengthen her position at court. I participate in critical work that reexamines Anna’s image: the long-held historical opinion of the queen consort places her as young, flighty, and materialistic, yet Anna was in fact a politically savvy court insider capable of intense machinations, one who made use of masques as a politicized venue for furthering important court relationships.