An encore screening of the National Theatre Live’s first ever staging of Stephen Sondheim’s “Follies,” which took home a total of 15 Tony, Drama Desk, and New York Drama Critics’ Circle awards after its 1971 opening on Broadway, will take place at Guild Hall tomorrow night at 7. 

The play is set on the stage of a Broadway theater in 1971 on the eve of its demolition when, 30 years after their final performance, the singers and dancers of the old Weismann follies gather for a final party. Tracie Bennett, Janie Dee, and Imelda Staunton star in the new production, which is directed by Dominic Cooke.

Paul Taylor, the British drama critic, summed up the production concisely: “It’s jaw-droppingly great.” Tickets are $18, $16 for members.

The renowned classical Indian musician Ustad Shafaat Khan and his fusion group East Meets West will make an exclusive appearance on the East End at the Parrish Art Museum in Water Mill on Friday at 6 p.m. The concert will feature Mr. Khan on the sitar, tabla, and vocals, Coco Bastien on guitar and vocals, and Farhaj Aziz on keyboard.

Mr. Khan has shared with stage with Ray Charles in Germany and with Stevie Wonder at the Bonnaroo Festival and has performed at concert halls, music festivals, and universities in India, Pakistan, Japan, Russia, China, Germany, France, Italy, and throughout the United States. He made his debut at the age of 11 in the King’s Lynn Festival in England and is the first known artist to have attained simultaneous mastery of the sitar, surbahar, and tabla.

Tickets are $12, free for members, students, and children.

An evening of Afro-Cuban jazz with Oscar Feldman, an Argentinean whose skills on alto, tenor, and soprano saxophones are applied to a wide range of Pan-American musical references, will take place at the Southampton Arts Center on Saturday at 7 p.m. Presented with the Jam Session, the concert will be recorded live and aired at a later date on WPPB 88.3 FM.

Educated in Cordoba and Buenos Aires before moving to New York City on a scholarship from the Berklee College of Music, Mr. Feldman has worked with notable artists such as Al Di Meola, Eumir Deodato, Avantango, and Paquito D’Rivera’s United Nations Orchestra, and his All Star Latin Jazz Band has performed at jazz venues and festivals in Europe, Africa, and throughout the Americas.

Tickets are $15 and include a 6:30 p.m. reception with sangria and small bites from Union Cantina.

“Songwriters’ Share: A Benefit for the Retreat,” an evening of original music by Inda Eaton, Gene Casey, Job Potter, Nancy Remkus, Mariann Megna, and Fred Raimondo, will take place on Sunday at 7:30 p.m. at the Stephen Talkhouse in Amagansett. A $20 donation has been suggested, and guests have been encouraged to bring skid socks or slippers for children or slippers or leggings for adults in lieu of toys.

There is no official theme to the grouping of paintings by Perry Burns, Cara Enteles, and Anne Raymond at the Sara Nightingale Gallery in Sag Harbor, but the bright colors and loosely abstract and floral themes are welcoming and cheerful. The show is not devoid of content, if one pauses to read between the lines, but it can also be seen as a welcome break from the grim headlines of recent weeks and a way to bring some optimism to the holidays and the darker days of approaching winter.

Closest to realism, Ms. Enteles seems to be predominantly concerned with plant life, which she paints on aluminum and Plexiglas panels. These untraditional supports give her works an unusual surface and background, an added luminescence that makes them seem otherworldly. Her silkscreen printing implies a mechanical process, but the oils she applies clearly indicate the artist’s hand. As much as the 19th-century American landscape painters chronicled a threatened idyll, Ms. Enteles also is engaged with the manipulation of nature by humans, often to the detriment of both. 

If one sees allusions to environmentalism, the upbeat beauty of her work defuses any harsh critique. “I aim to be an advocate for nature,” she says in her artist statement, “to present it in a positive light.”

As pretty as they are with their purples, blues, pinks, and greens, highlighted with white, her subjects are often wildflowers, or what others might call weeds. With the exception of some bleeding hearts (a possible metaphor?), she highlights the uncultivated and unintentional. Her dill blossoms show the plant when it is of least utility to humans.

At the opposite end of the spectrum, Ms. Raymond’s moody and fiery abstractions are seemingly content free, but rich in emotional allusion. One of her stated goals is to imply that her canvases exist far past their physical boundaries. She is capturing nature but 10 times removed, as memory or inner reverie.

Ms. Nightingale has chosen a group of three paintings from the artist’s “Red February” series. While easy to dismiss initially as no more than a simple abstract exercise, these are powerful works that continue to burn brightly in memory, long past exiting the gallery. Perhaps it is the dramatic images coming from California the past couple of weeks, but the canvases seem alive with threat, passion, peril. Not quite the hell scape of those epic wildfires, their tangled construction puts off its own energy, setting itself up like a trap or some creation myth.

“Morning,” while less vehement, has a brooding intensity that the pretty collection of colored passages does little to ease. There is a hint of figuration in the composition, suggested forms seated in chairs overlooking a pool or small body of water with misty morning haze offering a heavy atmosphere. A painting called “Deep Series I” seems to be a melted version of one of Ms. Enteles’s compositions via Joan Mitchell. It is clearly the artist’s own, but in this installation, magical transformations occur, connections cross-pollinate, and life goes on, much relieved and richer for the experience.

Mr. Burns takes the symbolic and reduces it to its essence, much in the tradition of Islamic art. The “Flower Tapestries” on view are a direct outgrowth of the artist’s interest in that religion’s traditions of “depicting the human spiritual experience.”

Inspired by the Blue Mosque in Turkey and its decoration of thousands of hand-painted tiles with geometric patterns based on floral motifs, he came up with his own interpretation. “For me, these flowers are not just ornament, but structure, not just decoration, but essence. Each is different and unique, but together, come to form a whole — an interdependent structure that is a reflection of our own human experience.”

How does he communicate this visually? It appears with infinite variety. His floral motifs take on different guises: night lilies, chrysanthemums, or amalgams of unidentified signifiers. The flowers themselves are reduced to their heads, decapitated as it were, and stylized generalizations. Is there a black one in each grouping? Yes, but there are individual flower pieces as well, which have no black flower. At the current moment in history, a black flower, unnatural and foreboding, seems to foreshadow and represent the present at the same time. While the artist offers no direct connection to the events of 2017, his work is reminiscent of artists who have struggled to address their emotional state in the face of so much division and anger in order to move past it.

Mr. Burns speaks of his paintings in terms of visual mantras and enlightenment, of higher states and transcendental moments. Their melding of Abstract Expressionism with Islamic style patterns creates a simple visual unity in a world divided by race and religion and often artificially by fear of “the other.” This implied natural state is a not-so-subtle nudge toward peace on earth and good will to men.

Group Photo Show

“State of Grace,” an invitational exhibition organized by East End Arts of Riverhead, is on view at the Southampton Cultural Center through Feb. 19. Subtitled “A Photographic Study of Grace as a Response to Chaos,” the show includes work by Cait McCarthy, Griffin Shapiro, Lena Nicholson, Sarah Cebulski, and Thais Aquino.

Ms. McCarthy, who organized the exhibition, specializes in headshots and family portraits. Raised in Brooklyn, her first solo show in September at the Coop in Bay Ridge featured works from her “My Brooklyn” series, which focuses on the bars and bodegas of her childhood.

The work of Mr. Shapiro focuses on portraits and surf imagery, though he also dabbles in street photography while managing a full-service photo studio in Manhattan. 

While Ms. Nicholson’s practice includes portraits, landscapes, and still lifes, her most recent work has taken a turn toward abstraction inspired “by the strength, sexuality, and graceful nature of the sensual female body,” according to her website. 

Ms. Cebulski specializes in weddings, fashion, and portraiture. Many of her images consist of a single figure or model posed dramatically in expressive, square-format compositions.

Ms. Aquino creates content for fashion, beauty, food, and beverage brands. Her work is marked by sensitivity to textures and composition and the use of vibrant colors.

One year after forming Caplan Rose, a travel company that organizes private tours of gardens and cultural destinations in rural England, Katharine Battle and Emily Goldstein, friends and Sag Harbor residents, have announced three 2018 excursions, the first of which will focus on gardens and art in the West of England from April 29 through May 4.

A land-only excursion for 8 to 12 people, the spring tour in Somerset and Devon will feature private visits to historic and contemporary gardens led by owners or their head gardeners. Highlights include gardens designed by Arne Maynard, Dan Pearson, and Piet Oudolf, and visits to the art gallery Hauser & Wirth Somerset and a pioneering sculpture park. 

Caplan Rose will meet the travelers at Heathrow Airport and escort them back at the end of the trip. All transportation will be by chauffeur-driven mini-coach. Accommodations will be in a country house hotel set on 18 acres in Somerset and an Elizabethan manor house in Devon. Both hotels feature farm-to-table dining from their own kitchen gardens. 

From June 17 through June 22, a second tour for a small group of watercolorists will focus on English landscape and architecture in Wessex. Travelers will be based in a country pub and spend each day exploring the area’s gardens, market towns, and countryside. A third excursion, whose dates are available on request, will feature the iconic gardens of the Cotswolds.

Born in Scotland and educated in England, Ms. Battle lived and worked in England, Italy, and Mexico before moving to the United States in 1997 with her husband, John Battle, an ornamental metalsmith. Ms. Goldstein has worked as a gallery director and private art adviser and in 2004 founded the Drawing Room in East Hampton with Victoria Munroe. She is married to Stan Stokowski, a gardener with a background in ornamental horticulture.

More information about the company is available at caplanrose.com.

The Choral Society of the Hamptons, which often performs standard classical repertoire, was conducted on Sunday by Mark Mangini, its music director, in “Dances, Carols, and Lullabies,” a program with a varied, non-traditional mix of music having to do with Christmas and Hanukkah. I had been its rehearsal pianist for one season about ten years ago, when the group was working on Vivaldi’s “Gloria,” and was glad I was there on Sunday to hear it.

The program lasted just over one hour. Mr. Mangini did a wonderful job of putting together a wide range of music in different styles representing different cultures, languages, and ethnicities. Most of the pieces were short — three to five minutes — and I can personally attest to the effectiveness of programming shorter pieces, and shorter programs in general. Even a dedicated classical music lover can have difficulty sitting through a lengthy program of unfamiliar music. And this concert was anything but difficult.

The first piece, “Veni, veni Emmanuel,” better known as “O come, o come Emmanuel,” is listed in the program as Gregorian chant. This particular arrangement was done by Zoltan Kodaly, the 20th century Hungarian composer who is now most famous for his creation of an elementary musical teaching method. His arrangement contains key changes and other adventurous harmonies, which are not normally associated with Gregorian chant, but are quite effective. 

The next two pieces, “Kol haneshamah” by Bonia Shur, and “Al HaNissim” by Dov Frimer, recognized Hanukkah. According to the program notes, Frimer is a practicing lawyer who composes music in his spare time! Many listeners might assume that the latter melody is very old, but it was actually composed in 1975. (Well, that is old for some listeners.) These two pieces featured Christine Cadarette, the society’s rehearsal pianist, on piano and Kenneth Borrmann on clarinet. Their performance was excellent.

The next piece, “In dulci jubilo,” is a German carol arranged by Robert Lucas Pearsall. It featured several members of the Choral Society as soloists, who did a wonderful job, with some sounding as good as professionals.

Next came “Carols and Lullabies,” arranged by Conrad Susa. These carols were written and sung in Spanish, though two were in Catalan. Again, several society soloists were featured, and it was truly a pleasure to listen to them all. This was by far the longest piece on the program. The program notes, which contained the original text as well as English translations, really helped guide me through the music, and definitely made the piece more enjoyable.

Indeed, even pieces that are sung in English are aided by program notes. This was certainly the case for “What Is This Lovely Fragrance,” a French carol arranged by Healey Willan.

The next piece on the program was “Silent Night,” arranged by Malcolm Sargent. This is where the Pierson High School chorus joined the performance. While listeners may be familiar with the words of “Silent Night,” Sargent’s arrangement is quite unusual. Similar to Kodaly’s arrangement of “O come, o come Emmanuel,” there are interesting harmonies and unexpected turns of melody. I found the arrangement quite beautiful. The Pierson students only sang at the 3 p.m. performance, which I attended, adding a touching intensity.

The next piece, an interlude for harp from “A Ceremony of Carols” by Benjamin Britten, was a lovely diversion from the rest of the program. The guest performer, Margery Fitts, really made this piece shine.

Next came “A Christmas Garland,” also arranged by Conrad Susa, a sort of mash-up of familiar Christmas songs, although this text was in English. The audience was invited to sing along when the text in the program was in bold type. The audience participated as directed, and it was well received. 

Finally, the program concluded with three verses of “Hark, the Herald Angels Sing” by Felix Mendelssohn. Since the concert was at the Bridgehampton Presbyterian Church, the audience was invited to sing along by referring to the hymnals for the words. Walter Klauss, on the organ, led the spirited singing.

In addition to Margery Fitts, the Choral Society was joined in this concert by Peter James Saleh, a percussionist, and Vilian Ivantchev, a guitarist. These instrumentalists, who have quite impressive backgrounds, made outstanding contributions to the overall effect of a wonderful concert.

“The Opera House,” Susan Froemke’s 2017 documentary about the history of the Metropolitan Opera from its original home on 39th Street to its grand opening in 1966 at Lincoln Center, won the Brown Harris Stevens Audience Award for Best Documentary Feature at the Hamptons Take 2 Documentary Film Festival, which was held at Bay Street Theater in Sag Harbor from Nov. 30 through Dec. 4.

The film, which had its world premiere in October at the New York Film Festival, covers not only the Met’s five-decade search for a new home but also the creation of Lincoln Center and its effect on neighborhood residents. The film includes interviews with Leontyne Price, who sang at the opening night in 1966, and archival footage of an interview with Robert Moses, the force behind Lincoln Center and numerous other “slum clearance” projects that displaced people from their homes and neighborhoods.

At Watermill for 2018

The Watermill Center has announced its 20 selections for 2018 artist residencies. Each artist or company will spend two to six weeks at the center utilizing its art collection, library, archives, and grounds to create “works that critically investigate, challenge, and extend the existing norms of artistic practice,” according to a release. 

Chosen by a selection committee of artists, journalists, academics, and curators, the 2018 residents are Antimetodo (Chile), Ville Andersson (Finland), Jarrod Beck (U.S.), Tania Bruguera (Cuba), Anne Carson (Canada), Jayoung Chung (South Korea), El Colegio del Cuerpo (Colombia), Lauren DiGiulio (U.S.), Saskia Friedrich (Germany), Groupe Karol Karol (France), Molly Joyce (U.S.), Masako Miki (Japan), Iva Radivojevic (Serbia), Hugh Ryan (U.S.), Bastienne Schmidt (Germany), John Stintzi (Canada), Tercer Abstracto (Chile), Bar­thélémy Toguo (Cameroon), Boris Willis (U.S.), and Joe Zorrilla (U.S.).

Inga Maren Otto Fellowships have been awarded to Ms. Miki, Ms. Bruguera, Ms. Carson, and Mr. Toguo. Each fellow receives a stipend, travel expenses, and financial support for a public exhibition of work created during the residency. Fellows’ exhibitions are organized by Noah Khoshbin and Daneyal Mahmood.

The residency program for 2018 will begin on Jan. 8 with Ms. Radivojevic, a Serbian video artist from Brooklyn, and Mr. Willis, a multimedia artist with a background in dance and theater.

Oursler Installation

“Facial Recognition,” a 2017 video installation by Tony Oursler that investigates the technology of facial recognition systems, in on view 24/7 in the window of the Rental Gallery in East Hampton through January.

A pioneering figure in new media since the 1970s, Mr. Oursler is known for liberating video art from the flat screen by incorporating video projections into three-dimensional environments. Disarming and often funny, his videos have long taken as their subject the human face, embedding the moving image and audio into unexpected contexts.

His recent interest in facial recognition technology is a natural extension of his longtime fascination with the human face and how it can be captured and exploited in a world increasingly preoccupied by security and surveillance. At the same time, according to the gallery, “the work’s color and movement evoke magic lanterns, Cubist painting, Victorian Christmas light shows, exquisite butterflies of beauty, and imagination that cannot be constrained.” The holiday window installation has been organized by Peter Fleissig, a collector and curator.

Vintage Photographs 

An exhibition of rare vintage photographs by Charles Jones (1866-1959), an English gardener whose artfully composed images of vegetables, fruits, and flowers were discovered in 1981 at a London antiques market, is on view through Dec. 31 at the Drawing Room in East Hampton.

Printed from glass plate negatives, Jones’s gold-tone gelatin silver prints reflect a modern sensibility that differed from his contemporaries’ prevailing approach to botanical subjects. While his work as the gardener at Ote Hall in Sussex was documented as early as 1905, his achievement as an early photographer went unrecognized during his lifetime.

The gallery is also showing paintings, sculpture, and works on paper by Stephen Antonakos, Antonio Asis, Vincent Longo, Alan Shields, and Jack Youngerman through Jan. 14.

Monoprints at Eagle

Monoprints by Lesley Obrock, a painter whose work is rooted in her background as a landscape designer, are on view at the Golden Eagle Art Store in East Hampton through Dec. 31, with a reception set for tomorrow from 4 to 6 p.m. Though she occasionally produces work that is representational, the East Hampton artist says she “leans more often toward the abstract.”