Kiss the Sky: The Jimi Hendrix Re-Experience will take the stage at Bay Street Theater in Sag Harbor on Saturday at 8 p.m. Kiss the Sky features Jimy Bleu, the world’s longest-running Jimi Hendrix tribute artist and, like Hendrix, a virtuoso left-handed guitarist. Mr. Bleu has toured with Billy Cox, the original bass player of Jimi Hendrix’s Band of Gypsys.

Kiss the Sky’s musicians perform in full replica wardrobe with replica instruments, celebrating all phases of Hendrix’s short but iconic career. The group’s 2016 U.S. tour kicked off with a TV concert devoted entirely to them on the season finale of AXS-TV’s “The World’s Greatest Tribute Bands.” Since then the group has performed at theaters, festivals, and clubs across the country.

Tickets are $30 in advance, $40 the day of the event.

Live From Southampton Arts Center, a concert series organized by Claes Brondal, a musician who hosts the Thursday night Jam Session at Bay Burger in Sag Harbor, continues on Saturday at 7 p.m. with the Martin Fabricius Group. 

Mr. Fabricius is a Danish vibraphonist and composer of animation and documentary scores including “En Anden Pige” (“Another Girl”) and “Sidste Nat” (“Last Night”). His albums as a bandleader include “When Sharks Bite,” “The Speed of Why,” and “Out of the White.” 

Joining him on Saturday are Mr. Brondal, who is also from Denmark, on drums, Brad Shepik, a guitarist who has performed with Carla Bley and the late jazz greats Paul Motian and Bob Brookmeyer, and the bassist Steve Swallow, “a legend in his own right,” Mr. Brondal said, who has also performed with Ms. Bley, Keith Jarrett, and Pat Metheny as well as Motian and the late Jimmy Giuffre and Art Farmer. 

Mr. Fabricius creates lush, dreamy soundscapes that may include classical and electronic elements. “His style is very much of the Nordic sound,” Mr. Brondal said last week. “Big soundscapes, emotions, harmonies. He has that in his blood.” Mr. Brondal likened his music to that of the vibraphonist Gary Burton, the pianist Chick Corea, and Steps Ahead, a group founded by Mike Mainieri, a vibraphonist, and that of Mr. Swallow and Mr. Shepik to the German independent label Edition of Contemporary Music, or ECM, which is characterized by defiance of genres and musical boundaries and has itself issued many soundtracks. 

Mr. Fabricius is a graduate of Berklee College of Music in Boston, where he studied with Mr. Burton. He and his trio have performed worldwide, including throughout Europe and in China. 

Mr. Brondal and Mr. Fabricius have been acquainted for some 25 years, the former said. “We met at a summer jazz camp back in 1992, and have played together over the years.” One collaboration was with Lou Soloff, the late trumpeter and composer, Mr. Brondal said. “Now we’re picking it up again, starting with the concert at Southampton Arts Center with the special guests Steve Swallow and Brad Shepik.”

The series will continue on May 5 with a Cinco de Mayo concert featuring tango, boleros, and jazz, with Oscar Feldman on saxophone, Mr. Brondal on drums, and Walter Perez and Sandra Antognazzi, who are Argentinean-born dancers, among other performers. The concerts are recorded for later broadcast on WPPB Peconic Public Broadcasting, at 88.3 FM. 

Tickets for the Martin Fabricius Group performance are $20. In a new feature for the series, a $10 ticket price is now offered to students. Tickets are available at southamptonartscenter.org, by calling 631-283-0967, or at the door, subject to availability.

Doors will open at 6:30, and complimentary sangria and snacks from Union Cantina in Southampton and rosé from the Wolffer Estate in Sagaponack will be offered.

For its spring concert the Choral Society of the Hamptons will perform Gioachino Rossini’s “Petite Messe Solennelle,” which the composer called “the last mortal sin of my old age,” on Sunday at 5 p.m. at the East Hampton Presbyterian Church and on Monday evening at 7 at the Church of the Holy Trinity on Manhattan’s Upper East Side.

John Daly Goodwin, a former music director of the choral society, will conduct. The chorus will be joined by four soloists from Mexico: Alejandra Sandoval, soprano, Diana Peralta, mezzo-soprano, César Delgado, tenor, and Carlos Lopez, baritone, all of whom were winners of the Opera San Miguel vocal competition. Thomas Bohlert on organ and Christine Cadarette on piano will accompany the chorus.

Written in 1863, more than 30 years after Rossini had retired from composing operas, the Mass is distinguished by a parade of uplifting choruses, arias, and ensembles in the composer’s distinctive style, according to a release. It is structured in several extended movements in the tradition of the Missa solemnis, or Solemn Mass, but, while a serious religious work, “the Mass also has the most delightful touches from a man who remained a theatrical composer to the end,” wrote Andrew McGregor in a BBC review of a 2006 recording.

Mr. Goodwin, who in 1999 completed nine years as the choral society’s music director, was music director of the New York Choral Society for 25 years. He has led concerts throughout the world, including 44 in Carnegie Hall, eight at Lincoln Center, and in Shanghai, Mexico City, Paris, Chartres, and Venice. Now based in Mexico, he is a member of the board of directors of Opera San Miguel and the Festival Internacional de Musica San Miguel de Allende.

He has also served as president of the New York Choral Consortium, music adviser to the September Concert Foundation, as a juror for the annual Opera San Miguel vocal competition, and he has been a member of the music faculties of New York University and Pace University.

Tickets to East Hampton concert are $30 in advance, $35 at the door. For students the cost is $10 in advance, $15 at the door. Preferred seating is available for $75. New York City concert tickets are $20, $25 at the door, and $10 or $15 for students. A benefit cocktail reception will take place after Sunday’s concert at the Palm restaurant in East Hampton. Reception tickets are $100. All tickets can be purchased from the choral society’s website or by calling 631-204-9402.

Led by Mark Mangini, its music director, the choral society is an auditioned chorus that has performed high-quality choral music on the East End since its founding in 1946 by the late Charlotte Rogers Smith.

Group Show in Springs

“Seven at Ashawagh Hall,” a group exhibition of painting, sculpture, and mixed-media work, will be on view at the Springs venue today through Saturday from 11 a.m. to 5 p.m. daily, with a reception set for this evening from 5 to 7. Participating artists are Abby Abrams, Mary Antczak, Pamela Collins Focarino, Ron Focarino, Ruby Jackson, Bill Kiriazis, and Dennis Leri.

Socially Conscious Art

“The 7th Circle,” a show of three artists’ work that addresses social and environmental issues, will open on Saturday at the Southampton Cultural Center and continue through April 30. A reception will be held April 14 from 5 to 7.

Janet Culbertson uses iridescent pigments and oils to represent worldwide toxic landscapes and the destruction of the planet. Inspired by her own journey from Croatia to the United States, Anna Jurinich creates paintings that explore the effects of war and the struggles of refugees and women. The work of Paula Ocampo, an Argentinean-American artist, explores fear and the criminal justice system.

Organized by East End Arts and the cultural center, the exhibition asks if humans have made a reality of Dante’s seventh circle of hell.

Plein-Air Painters

“Nature’s Palette,” an exhibition of work by members of the Wednesday Group of plein-air painters, will be on view at the Amagansett Library from Monday through April 28. A reception will take place April 7 from 4 to 6 p.m.

Mozart’s “Cosi Fan Tutte,” the next offering from The Met: Live in HD, will be simulcast on Saturday at 1 p.m. at Guild Hall. The new production, the work of Phelim McDermott, has relocated the comedy about the sexes from 18th-century Naples to Coney Island in the 1950s and includes sword swallowers, a strongman, a fire-eater, a contortionist, and a bearded lady.

The cast includes Christopher Maltman as Don Alfonso, Kelli O’Hara as Despina, and Amanda Majeski, Serena Malfi, Ben Bliss, and Adam Plachetka as the young lovers who test one another’s faithfulness. David Robertson conducts. Anthony Tommasini, a critic for The New York Times, called it “a winning show.” Tickets are $22, $20 for members, and $15 for students.

For those wishing to enhance their knowledge of the opera, Victoria Bond, the noted composer, conductor, and opera scholar, will give a pre-opera lecture at noon. Lecture tickets are $30, $28 for members.

Also at Guild Hall, auditions for “The Summit,” a new play that will have its premiere there on Aug. 31, have been announced. Producers of the slapstick comedy are looking for actors and performers with experience as physical comedians, mimes, puppeteers, gymnasts, dancers, and clowns.

Auditions will take place by appointment only in Brooklyn on April 7 and in East Hampton on April 8. Rehearsals will begin in East Hampton in August. To secure an appointment, interested performers have been asked to send a headshot and resume to [email protected]. More details are available on Guild Hall’s website.

The fourth iteration of “East End Collected,” the annual Southampton Arts Center exhibition organized by the artist Paton Miller, is a testament to the breadth and vitality of the East End art community. The 30 artists included in this year’s show, which will open on Saturday with a reception from 5 to 7 p.m., bring to almost 200 the number of those who have participated in the exhibitions.

This year’s lineup includes Mary Abbott, Mike Ahearn, Hal Buckner, Perry Burns, Eteri Chkadua, Bonnie Cohen, Andrea Cote, Pierre Cote, Gregory Delahaba, James DeMartis, Ellen Frank, Elizabeth Geisler, Kimberly Goff, Elaine Grove, Michael Ferran, Sophie Howell, Dana Little, Steve Loschen, Kenny Mann, Mary Mattingly, Lindsay Morris, Roy Nicholson, Shimon Okshteyn, Mickey Paraskevas, Julia Scheuer, Kerry Sharkey-Miller, Liz Sloan, Neal Thomason, Abigail Vogel, and Dan Welden.

Mr. Miller will lead gallery tours on April 8 at noon and May 20 at 3 p.m., the latter of which will be capped by a champagne toast. An illustrated talk with Mr. Burns, Mr. Delahaba, Mr. Paraskevas, Ms. Vogel, and Mr. Welden will happen on April 29. Workshops for adults, families, and kids have also been scheduled.

“East End Collected4” will remain on view through May 20.

Although the cardboard she adopted as a primary medium a few years ago is still present in the Anita Rogers Gallery in SoHo, Virva Hinnemo’s focus has lately shifted back to paper and, ultimately, to canvas.

In the solo show “Four Feet,” the Springs artist moves back and forth freely between mediums and different forms of supports, including a rather complicated piece, “Under the House,” which is painted on framed plywood and propped up with wooden blocks, resembling sculpture on an improvised and unusual pedestal.

The artist appears to enjoy blurring lines that have always defined classic formalism as well as the borders between pure abstraction and naturalism. How else to explain works with titles such as “Waterfront,” “Still Life,” and “Laundry” that also evoke those subjects in the subtlest ways?

Recycling and repurposing are appealing trends in art-making and they don’t appear to be losing steam. As humans create more and more detritus, artists have seized the day and the trash, to transform it into something more pleasantly enduring. These pieces can deliver both depth, with their inherent cultural critique, and a sense of aesthetic surprise and delight (“See what they did with that tire, radio, computer monitor, etc.?”). 

Ms. Hinnemo’s cardboard pieces include a bit of play, as well. The wide daubs that make up her painting “Still Life” actually come from a bright blue-and-white striped box top. It can be debated whether those are Cezanne apples in a bowl or Morandi vases, but what is indisputable is that the piece has an air of lighthearted fun.

“Two Plus Two” looks like a face. The artist’s cutouts — both those she made herself, as in “Close to the Wall,” and prefabricated, as in “Horizon” — address the sculptural properties of the support, introducing an air of uncertainty about how ultimately to define these objects.

Nowhere is that uncertainty more apparent than in “Under the House,” in which her acrylic paint seems to evoke flames in a stove or furnace, with the black, gray, and white palette looking like coal and ash. The title could be reassuring (hearth and home) or ominous (what lies beneath? unchecked passions or peril?). A simple panel is not a radical support for a painting, but what of the framing? It could be a shed or cellar door or some other found bit of hardware. The rough blocks that keep it upright don’t appear to be part of the piece; their measurements are not included in the work’s description. Yet, purely functional or not, it is hard to divorce their presence from the overall impression of the piece.

In “Laundry,” a work on paper, she places paper over a painted section in the tradition of collage, but the beige paper matches the background in the way correction tape covers up mistakes in text. That there is still a hint of the painting concealed beneath it gives the piece a mysterious air. What was the motivation to hide what is underneath?

Those pieces leave a lot to contemplate, but the canvas paintings are the real treat in the show. They, too, benefit from extended viewing. A quick pass might offer hints of Robert Motherwell, Franz Kline, even Mark Tobey, but it wouldn’t reveal the depth of the artist’s unique approach. Seemingly just black and white with shadings of gray, almost all of them have some color in their underpainting. In “Ground Glow,” it is a purplish red, maybe wine, maybe something more sanguine. In the piece that shares the title of the show, “Four Feet,” it is a lovely, peaceful blue thinned with white. 

In some canvases, central portions are left blank, creating voids and pauses in the composition. “The Crossing,” a rare vertical piece in the show, seems to suggest all manner of meanings, from the soaring spires of the architectural crossing of a medieval church to the harrowing journey war refugees are still undertaking to leave their ravaged countries. Or, to take it down a notch, it could be the energy of a busy city intersection. That so much allusion could be packed into these paintings speaks to their emotive qualities and to their restraint.

The exhibition will remain on view through April 21.

As part of the celebration of its 25th anniversary, the Watermill Center is holding a pre-summer party at Spring Place in TriBeCa next Thursday from 7 p.m. until 1 a.m.

The two-part evening will begin with cocktails and an “immersive dinner” by Paul Renner, an Austrian artist and chef. The doors will reopen at 9:30 for an after-party that will include dancing, dessert, and a performance by Kembra Pfahler and her rock band, the Voluptuous Horror of Karen Black. Noah Khoshbin has organized the art installations and performances.

Tickets for the dinner and after-party start at $1,500, $1,000 for members of the Watermill Byrds and Spring Place. After-party tickets are $250, $150 for members. All tickets can be purchased on the center’s website.

Title Wave at Bay Street: The Fifth Annual New Works Festival will take place at the Sag Harbor theater from May 4 through May 6. The festival, which will include readings of four new plays and musicals in development, is designed to give playwrights a chance to hear their works in progress and to receive feedback from the audience. Many scripts from previous festivals have gone on to full productions at Bay Street and around the country.

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

In a time when tolerance, compassion, and human dignity seem in short supply, theatergoers can enjoy a major dose of all three at the Hampton Theatre Company in Quogue, where Tom Griffin’s “The Boys Next Door” is running now through April 8.

But don’t forget your Kleenex. This sentimental 1986 play, set in a communal housing project for the mentally handicapped, plucks heartstrings with an effortless touch. It is also very funny, and blessedly devoid of sanctimony. As written by Mr. Griffin, we are invited to laugh both with and at these challenged characters, who are funny, absurd, sympathetic, and maddening all at once. Just like the rest of us. 

The set depicts a typically drab but homey state-appointed apartment, where four men play out their various trajectories. Arnold, self-described as “basically a nervous person,” suffers from severe paranoia yet harbors a dream of moving to Russia. Norman, on the other hand, is addicted to doughnuts and wants to marry Shelia, another handicapped person living in the complex. Lucien P. Smith has the mind of a 5-year old, though the state wants to terminate his benefits and return him to society. And Barry pretends to be a golf pro, all the while dreading an impending visit from an abusive father whom he both fears and loves. 

Overseeing the group is Jack, a state appointee in charge of the four men but who is burning out from the demands of his job. As played by Paul Velutis, Jack is given the difficult task of narrating the play in various asides. These long interruptions can stall the drama’s rhythm, though Mr. Velutis does well in building a rapport with the audience. 

The emotional center of the play is inhabited by Shelia and Norman, beautifully played by Jessica Howard and Scott Hofer, whose innocent pursuit of each other is both touching and highly emotional. (When Norman’s strange obsession with a set of keys he wears on his hip — “I can’t get into things without my keys!” — is shared by Shelia, you know this is a match made in heaven.) 

Mr. Hofer especially stands out in this production, uncannily inhabiting this sweet-natured character with his dramatic physical tics. In the hands of a lesser actor, Norman might come off as histrionic, or worse, patronizing, as the character whips himself into extreme contortions when he tries to speak. Hamlet warned his actors to “not saw the air too much with your hand,” though Mr. Hofer finds here that extravagant is the right amount. More important, he locates this character’s humor and generous humanity. 

Also notable is Matthew Conlon, excellent as the urbane writer in last year’s H.T.C. production of “An Act of the Imagination.” He’s utterly transformed here, but no less effective as the mistrustful Arnold, who is in a constant state of agitation. Simple things like rugs or feminine napkins can send him into apoplexy, and Mr. Conlon gives this relentless paranoid a manic quality that is both exhausting and exhilarating to watch. 

Less effective is the storyline of Barry, played in a muted performance by Spencer Scott. Perhaps his laconic style is meant to illuminate the crushing influence of a brutal and absent father, but the scenes of Barry teaching golf, for example — a sport for which he has no knowledge or aptitude — lack the comic verve they need. And when Barry’s father finally does arrive, the part seems both overwritten and overdirected. The actor playing the father, a hulking and intense Mike Boland, is already a menacing presence — he is the kind of actor who needs only walk into a room to make everyone feel uneasy. Here, though, he is asked to punctuate his pulpy dialogue with slammed doors and slapped kitchen tabletops, as if we didn’t already know he was a loathsome character. 

Small missteps aside, there are other pleasures to be found in this production, including Dorian O’Brien’s charming and empathetic portrayal of the childlike Lucien. And it is a relief to watch a playwright avoid driving his ending into the maudlin ditch that this subject matter usually runs into. When it’s all over you will be moved without feeling manipulated. 

“The Boys Next Door” is a sweet, affecting play filled with terrific performances, and a perfect respite from our toxic news cycle.