The Perlman Music Program will present a concert of music by Brahms, Schubert, and Schumann performed by Cong Wu, an award-winning violist who has played throughout North America and Europe, on Saturday at 5 p.m. Yinfei Wang will provide piano accompaniment. Tickets are $25, free for students, and a reception with the artists will follow the performance.

Klyph Black and John Sparrow, an acoustic duo who have opened for New Riders of the Purple Sage, Taj Mahal, Hot Tuna, and other notable acts, will perform at the Masonic Temple in Sag Harbor on Saturday at 8 p.m. The show will benefit the Pierson High School scholarship fund and other local charities. Tickets are $20, $10 for students, and the doors will open at 7:30 for wine and refreshments.

The Neo-Political Cowgirls will hold auditions for “Baubo,” a new production that will have its premiere in Montauk this summer, on April 29 between noon and 2:30 in East Hampton. Those interested can email [email protected] for an audition time slot, what to prepare, and the audition location.

The opening reception for Guild Hall’s 80th Artist Members Exhibition celebrated both the winners of this year’s prizes and those who won top honors in previous years. Jeff Muhs, right, won the top prize for his concrete sculpture “Callipyge” and will have a solo exhibition at the museum in 2020. This year’s judge, who selected from 391 entries, was Connie H. Choi, associate curator of the permanent collection at the Studio Museum in Harlem.

Other prize winners were Anne Raymond, best abstract; Kathleen Ullman, best representational work; Gerry Giliberti, best photograph; Arlene Bujese, best work on paper; Aurelio Torres, best sculpture; Goran Petmil, best mixed media; John A. Stefanik, Catherine and Theo Hios best landscape award; Lianne Alcon, best new artist, and Julie Spain, Dianne B. Bernhard award for excellence in pastel.

Honorable mentions were earned by Neal Cohen, Naomi Grossman, Suzanne Hoffman, Lisa Kiss, Denis LeBrun, Martha McAleer, Desi Minchillo, William Pagano, Leila Pinto, Christina Stow, Rose Zelenetz, and Melinda Zox. 

Casey Dalene, Guild Hall’s registrar and curatorial assistant, organized the exhibition.

‘It’s not about tech. It’s not about staging,” said Scott Schwartz, the artistic director at Bay Street Theater in Sag Harbor. “It’s about the words.”

Mr. Schwartz was describing the most basic premise behind Title Wave, the theater’s fifth annual New Works Festival, which will include readings of three new plays and a musical from May 4 through May 6. All shows are still in development. 

For theater lovers, the festival offers a unique opportunity to glimpse the developing work of young playwrights and musical composers, brought to life by  experienced directors. It is also a reminder of the role that regional theater often plays in nurturing innovative new work and developing artists. And it’s all for free.

As is customary, the festival will kick off on May 4, at 8 p.m. with a new musical. “Medea,” written by the Kilbanes, a husband and wife theatrical rock band duo, will be directed by Reggie D. White, an actor, singer, and teaching artist based in New York City.

“It’s a folk-rock musical,” explained Mr. Schwartz, that tells the backstory of the mythological sorceress and murderess. “In this tabloid culture of ours,” he said smiling, “it’s like the facts behind the fake news.”

Mr. White, the director, said the Kilbanes, who are based in the San Francisco area, first told him of their idea in 2013, but it was only last year that he mentioned it to Will Pomerantz, Bay Street’s assistant artistic director. 

“I happened to anecdotally mention it and they all got really excited,” he said, and added that even “Hamilton” took seven years and a ton of workshops before it got produced. “It does take a village to raise a play and we are so grateful to Bay Street for their support.”

On May 5 at 2 p.m., Stephen Hamilton, will direct take on “A Seagull in the Harbor,” written by Emily Mann, who is perhaps the most accomplished, in terms of stage success, of the four writers. Ms. Mann is an award-winning director and playwright as well as the most accomplished, in terms of stage success, of the four writers. Ms. Mann is an award-winning director and playwright as well as the longstanding artistic director of the McCarter Theatre in Princeton, N.J. In 1994, she won the Tony Award for outstanding regional theater. 

But even the most established artists, explained Mr. Schwartz, have to continue to develop their work.

Originally titled “A Seagull in the Hamptons” and a modern version of Chekhov’s “The Seagull,” Ms. Mann decided to make it even more specific to Sag Harbor and renamed it “A Seagull in the Harbor.”

“This one is so exciting,” said Bay Street’s artistic director. “It features a multicultural cast and it’s inspired by Eastville, Sag Harbor’s historically African-American community.”

On May 5 at 8 p.m., “The Prompter,” a comedy by Wade Dooley, will be showcased. Directed by Mr. Schwartz, the play was submitted by an agent, and Mr. Schwartz said he didn’t get around to reading it until two months ago, when he couldn’t put it down. 

With unabashed enthusiasm, he described it as “insider-y about the theater and bitchy in a fun way.” The story is based on Mr. Dooley’s real-life experiences as a prompter — that person who stands offstage and feeds actors their lines when necessary. However, this story is fictional, stressed Mr. Schwartz. Mr. Dooley, who was most recently a cast member of “Jersey Boys” on tour, will play the eponymous role in this behind-the-scenes look at the relationship between a prompter and an aging, world-famous actress. 

Finally, on May 6 at 3 p.m., audiences will have an opportunity to see “Eight Nights,” written by Jennifer Maisel and directed Mr. Pomerantz.

“It’s a beautiful play about survival,” said Mr. Schwartz, “about a Holocaust survivor who comes to America and struggles with the loss of her family.”

This is the first year that Bay Street has involved its patrons council, composed of certain Bay Street donors, in the decision-making process of the festival by having them read scripts and provide feedback. The council really sparked to “Eight Nights,” said Mr. Schwartz.

As always, there will be a talkback session following each show as well as audience feedback, which is beneficial to the creative team and allows the audience to be on the inside of the creative process.

Scripts from previous festivals have gone on to full productions at Bay Street and around the country. “Some of these diamonds aren’t so rough,” said Mr. Schwartz.

All readings are free, but tickets are required, and the programs usually sell out. Tickets can be reserved at baystreet.org.

Perhaps because of 25 years as a Labour M.P. in British Parliament, delivering gnashing speeches to the honorable members of the Opposition, Glenda Jackson’s incredible voice has not lost any of its muscle.

She is 81 and, having retired from politics in 2015, returned to the London stage in 2016 to play King Lear, the most grueling of Shakespeare’s roles. Now, after a 30-year absence from Broadway, she’s back in Edward Albee’s lacerating drama “Three Tall Women,” expertly revived by Joe Mantello. Remarkably, this is the play’s Broadway premiere, occurring nearly 25 years after its Off Broadway debut, which won the playwright his third Pulitzer.

Much ink has already been spent on Ms. Jackson’s virtuoso performance here in Albee’s most autobiographical work. As the woman identified simply as A, she plays a 92-year-old (91, she insists) dowager — wealthy, imperious, mean as an adder, racist, anti-Semitic, and homophobic. She’s frail, incontinent, succumbing to Alzheimer’s, and facing death, but still capable of launching insults at her two companions: B, played by the equally gifted Laurie Metcalf, fresh off her screen success in “Lady Bird,” and C, played by Alison Pill, who can hold her own even in such lofty company.

The drama starts off merely as a vignette: the cantankerous A, needy and venomous in her lavish boudoir, bossing around B, her middle-aged caretaker who helps her through the indignities of life, while verbally punching C, the young lawyer sent to put the old battle-ax’s affairs in order. Then, rather artfully — this is a swift hour-and-45-intermission-free production — the triumvirate transforms into the same person, delineated by costumes in varying shades of lilac. 

The change comes with the force of one of A’s insults. Turns out, we are witnessing A’s timeline, the anatomy of her life in three stages: a hopeful 26-year-old refusing to believe such an embittered future; a 52-year-old looking back at her naive version and forward to something horrendous, therefore acknowledging she’s at life’s summit, and the autumnal 92-year-old, staring down senility but with all her marbles, ruminating on a lifetime of reasons that have left her so bilious. 

Albee once said he wrote “Three Tall Women” as a form of “exorcism,” directly inspired by his adoptive mother, to whom all the adjectives attributed to A can be applied. He grew up in a privileged household, but it was a childhood from which he couldn’t wait to escape. His father was cold and unavailable and his mother, full of resentment and vitriol, simply detested him. Although Albee disliked critical analysis of his plays, even he would concede in interviews that the oft-occurring theme of parental failings was largely rooted in his own experiences. When asked how long it had taken him to write “Three Tall Women,” he once replied, “all my life.”

Whether it was indeed his inescapable unhappiness that spurred him to write at least one play a year between 1959 and 2009, one will never know, for the playwright died in 2016 in his home in Montauk, which he bought around 1964, a couple of years after “Who’s Afraid of Virginia Woolf?” opened on Broadway.

In fact, the monetary success of that now-canonized, marital bloodbath drama was so immense it enabled him to set up the Edward F. Albee Foundation in 1967 to offer struggling artists the time and space in which to work without disturbance. The Albee Foundation’s Barn sits on a peaceful knoll in Montauk, and notable writers and artists including John Duff, Christopher Durang, Will Eno, Spalding Gray, and A.M. Homes have spent stretches of solitude there to focus on their work. 

On Saturday, the playwright’s connection to the South Fork will be further memorialized when the LongHouse Reserve in East Hampton dedicates its amphitheater to the memory of Albee, who held several performances there. This would have been the year of his 90th birthday. (See related story on C3.)

Ms. Jackson, now in her ninth decade, is as beautiful as ever, her cheekbones still a marvel. When she won the parliamentary seat in 1992, at the height of her Hollywood fame, her fellow Labour Party members hoped she would bring glamour to the drab of politics. Poppycock, she basically said, and turned up in the House of Commons in sensible Marks and Spencer outfits and never a stitch of makeup. She relied only on that voice, as sharp as broken crockery, that was said to have emasculated her leading men onstage and onscreen, and helped her take home virtually every statuette in the arts world. And with it, she eventually made a stinking enemy of Prime Minister Tony Blair.  That voice is still diamond-cutter sharp; she’s still able to eviscerate anyone in sight. To watch her electrifying presence live on stage is nothing short of a gift.

A pivotal moment in the play comes when A shares a recollection from her youth, a hateful anecdote concerning her rich husband with a glass eye (Albee’s adoptive father had one too), who comes home one day, offering her a glittering diamond bracelet dangling at the end of his erect “pee-pee.”

“ ‘Do you want it?’ he said. ‘Yes! Yes!’ I said, ‘Oh, goodness, yes!’ And he came closer, and his pee-pee touched my shoulder — he was short and I was tall, or something. ‘Do you want it?’ he said.”

A long silence follows her story and A begins to cry before the play segues into the three women becoming A’s consciousness, and only then do we experience a grudging sympathy for the old lady and begin to understand her underlying spite. 

In the midst of this cerebral Armageddon, a nameless, wordless son enters and through some nifty trickery of mirrors, suddenly, the audience is onstage, as well!

Who is really examining whose life here? Must we all be part of this savage slashing away at our innermost selves? It makes for an uncomfortable bit of theater to see yourself up there, no longer a passive viewer, but a participant in Albee’s unblinking view of life, such an abrasive study in loathing and frustrations, of impotence and regret. Mr. Mantello’s use of an illusion cleverly does away with a common illusion that somehow we will be spared that end-of-life reckoning. No chance. Like A’s, it will be brutally fierce. 

And so, by the end, we are harshly reminded of our own mortality. If the experience was intrusive and uncomfortable, it is exactly how Albee meant it to be. For the meanness of life — its cruelty and inadequacy — was always Albee’s business.

“Three Tall Women” will play through June 24 at the John Golden Theatre.

Edward Albee was a longtime friend of the LongHouse Reserve in East Hampton and its founder, Jack Lenor Larsen, and he served on its arts committee from its inception 27 years ago until his death in 2016. It is fitting, then, that LongHouse will rename its amphitheater in memory of the playwright when it opens for the season on Saturday.

“Rites of Spring,” the opening celebration, will include the dedication of the amphitheater by the Academy Award-winning actress Mercedes Ruehl and her friend and fellow actor Harris Yulin at 5:30 p.m. Jane Alexander, former chairwoman of the National Endowment for the Arts, will also speak, after which the Edward Albee Memorial Fund for art purchases will be launched.

The LongHouse garden’s daffodils will be in full bloom for the opening. An exhibition of figurative works by the American artist Judith Shea will on view, as will a site-specific work in the garden by the artist Orly Genger.

Ms. Shea, whose work is in the collections of major American museums, has made a study of the human figure for more than four decades. Her materials have ranged from simple textile clothing to bronze, hollow iron, and carved wooden figures. Her “Lower Manhattan Classic,” part of her 9/11 “Legacy Collection,” will be on view along with earlier works in bronze and steel.

Ms. Genger uses the vernacular techniques of crocheting, knitting, and knotting to create monumental sculptures of hand-knotted rope, which has become her signature medium over the past 10 years.

A video from 2001 of Albee reading at LongHouse with Elaine Stritch will also be playing throughout the day. The playwright performed and read in the amphitheater many times and engaged in dialogues, including one with Robert Wilson. 

Admission to “Rites of Spring” is $15, free for members.

The Met: Live in HD will present a simulcast of its first-ever production of “Cendrillon,” Massenet’s 1899 opera based on the Cinderella story, on Saturday at 12:30 p.m. at Guild Hall. Joyce DiDonato stars in the title role, with Alice Coote, a mezzo-soprano, as Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as Madame de la Haitiere. 

Bertrand de Billy conducts Laurent Pelly’s production, which Zachary Woolfe, a New York Times critic, called “a delightful show.” Tickets are $22, $20 for members, and $15 for students.

JDT Lab will have a live concert featuring selections from “Far Travelers,” an opera in development by Jeffrey Leiser, a film and concert composer, sound artist, and screenwriter, on Tuesday at 7:30 p.m. Based on the Vinlandic sagas and set in 1004 A.D., the opera follows the travels of a group of merchants and Vikings as they attempt to settle Newfoundland. Admission is free, but reservations have been encouraged.

“Bernard and Huey,” a comedy written by Jules Feiffer and directed by Dan Mirvish, will be shown at Bay Street Theater in Sag Harbor, as part of its weekend programs, on Sunday at 2 p.m. in advance of its June theatrical release.

“Bernard and Huey” is based on characters originally created by Feiffer in 1957 for comic strips in The Village Voice and Playboy. It has been shown at more than 25 film festivals and earned Mr. Feiffer the award for best screenplay at the Manchester Film Festival in England. Frank Scheck, a critic for The Hollywood Reporter, called it “an incisive portrait of middle-aged men refusing to grow up.” Mr. Feiffer and Mr. Mirvish will answer questions after the screening. Tickets are $15.

Also at Bay Street, Scott Coulter, a New York City vocalist, will offer “8-Track Memories: Songs of the ‘70s,” a slice of that decade’s pop music, on Saturday evening at 8. Hits from Carole King, the Bee Gees, Simon and Garfunkel, Stevie Wonder, Barbra Streisand, Gloria Gaynor, Donna Summer, and many others will bring back the era of soft rock, soul, and, of course, disco. Tickets are $30 in advance, $40 on Saturday.

“Flattened Space,” a discussion centered on movement, memory, and the peripheral vision in architectural photography, will take place at the Parrish Art Museum in Water Mill Friday at 6 p.m.

Presented in conjunction with the museum’s current exhibition, “Image Building: How Photography Transforms Architecture,” the program will include Ralph Gibson, whose photographs are in more than 100 prominent public collections, Lee H. Skolnick, an award-winning architect known for his designs of museums, schools, residences, and exhibits, and Therese Lichtenstein, an art historian and curator of “Image Building.” Tickets are $12, free for members and students.