Bad Quarto Productions' THE SECOND SHEPHERDS' PLAY Begins Tonight
Bad Quarto Productions, a theatre company specializing in performing modern theatre using Shakespearean staging techniques, will stage THE SECOND SHEPHERDS' PLAY, a medieval Christmas musical, tonight, December 12th - 20th at 353 W. 48th St in New York.
Just when life couldn't get any harder for three Shepherds, a devious pair of thieves steal one of their sheep and disguise it as their newborn. Confusion and comic high jinks ensue as the shepherds try to get their sheep back, and when they yield to the better angels of their natures, they're invited to witness a Christmas miracle.
About the Second Shepherds' Play, director Derek Peruo says "THE SECOND SHEPHERDS' PLAY is a classic tale of average people doing extraordinary things. It's a tale of forgiveness and grace that still holds true 500 years after it was first performed."
THE SECOND SHEPHERDS' PLAY will play at Studios 353 (353 W. 48th St., New York) from December 12th 20th on the following days and times: Saturday, December 12th: 8 PM; Sunday, December 13th: 2 PM; Friday, December 18th: 8 PM; Saturday, December 19th: 8 PM; and Sunday, December 20th: 12:30 PM. Pre-sale tickets are $10, and $12 starting on December 12th. All seats are general admission. The house opens 20 minutes before curtain times, and THE SECOND SHEPHERDS' PLAY has an approximately 45 minute running time. Come early and enjoy live music performed by the cast.
For tickets and more information, visit www.BadQuarto.org, or call Bad Quarto's box office at (646) 598-2128 between 10 AM and 6 PM.
Bad Quarto Productions was founded in 2010 to explore the rarely performed plays of Shakespeare's time, and the ways in which Shakespeare's staging techniques can inform modern theatrical productions. The company has produced the earliest printed version of Romeo and Juliet; The Merry Devil of Edmonton; and The Ballad of Dido, an original musical developed using Shakespearean techniques. Bad Quarto's performance style has found favor with audiences wherever we've played, and we continue to look for new ways of bridging the gap between Shakespeare's theatre and our own.
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