These are turbulent times to land a sexual romp that relies on comic possibilities to outweigh its sexist tendencies. Not to mention that when “Boeing Boeing” was last staged on Broadway, it was co-produced by none other than Harvey Weinstein. If onstage farce relies on hairbreath timing, then the offstage timing of this one is pretty hilarious too.

Upon hearing the title of the play — “Boeing Boeing” — younger audiences might ask, “What, what?” Older audiences might recall a bedroom farce that had a brief run on Broadway in 1965, when the play is set, and a film version starring Tony Curtis and Jerry Lewis, publicized as “the big comedy of nineteen-sexty-sex.” The play was revived for Broadway in 2008, backed by the Weinsteins, and featured a stellar cast that included Mark Rylance, who won one of the two Tony Awards the show earned. Written in 1962 by the French playwright Marc Camoletti and translated to English by Beverley Cross, “Boeing Boeing” is considered the most performed French play around the world.

And here it is on the East End until Nov. 5, the season opener for Center Stage Theatre, which is celebrating its 10th anniversary at the Southampton Cultural Center. Neil Simon once said, “The simplest aspect of farce is you need a lot of doors. And you need people to go running in and out of them, just missing each other.” Check, and check. There are seven doors onstage and six cast members, making it the epitome of a bedroom farce, featuring slamming doors, delicious innuendo, and spectacularly improbable situations. The basic premise involves Bernard (Dane DuPuis), a 1960s playboy (as they were called) who lives near the airport in Paris with a perpetually grumbling French housemaid (Catherine Maloney), and who has three air stewardess (as they were called) fiancées, each of whom thinks she’s the one and only. A scrupulous timetable keeps the raucous romances going until the day his childhood friend Robert (John Leonard), a shy and awkward provincial from Wisconsin, pays a visit to his apartment with the seven doors, and is unexpectedly thrust into a household saturated with panic and sex. 

“It’s a completely nonsensical period piece,” said Michael Disher, the director and founder of Center Stage Theatre. “And it’s important to remember that it is a period piece, set during a time when flight attendants were like runway models in the air. It’s fun and frothy, a terrific tonic that is much needed right now.”

The sparse audience at the Sunday matinee agreed. They seemed to delight in the lusty and ludicrous stewardess-juggling shenanigans, the near misses, the pratfalls, and even the predictable head-on collision at the end — as well as a set that is tricked out in thoroughly mod ’60s style.

The female actors are the true force behind this production, each delivering an impeccable performance: Shannon DuPuis as Gloria the TWA air hostess, Samantha Honig as Gretchen from Lufthansa, and Josephine Wallace as Gabriella, the fiery Alitalia stewardess. But it is Catherine Maloney, a shaky French accent notwithstanding, who steals the show as the haughty maid Berthe.  Ms. Maloney, a regular on community stages across the East End — and understandably so — is once again spot on with her delivery as a woman wearied by having to alternate between cook, pimp, and air traffic controller. 

John Leonard gives a riotous performance as Robert, the virginal and unsophisticated friend from the Midwest, desperate to find just one woman with whom to settle down while watching his friend juggle three. It’s a nebbishy performance full of hyperventilating and brow mopping, and Mr. Leonard does it well. 

Even in a play where audiences are willing to suspend disbelief, Dane DuPuis’s portrayal of Bernard, the Lothario lead tied up in amorous convolutions, is all wrong. Mr. DuPuis, the Southampton Cultural Center’s photographer and a relative newcomer to the stage, does not quite convey suave or debonair, or that panache particular to the “Mad Men” era. His romantic interactions with the stewardesses are boyish and silly. In an inexplicable styling choice, he sports a contemporary fade haircut and facial growth, making him more Justin Timberlake than 007. 

But luckily, as Ray Cooney, Britain’s greatest farceur, once said, “Farce is teamwork. There is no standing behind beautiful monologues. It’s mundane language. The characters aren’t standing center-stage, spotlit, intellectualizing about their predicament. They’re rushing about dealing with it.”

And as such, this is a great team that delivers a mischievous romp about ordinary people who are out of their depth in a predicament that is beyond their control and that they are unable to contain. Sex is the McGuffin here. It’s all about love in the end.

“Boeing Boeing” will run until Nov. 5 at the Southampton Cultural Center, 25 Pond Lane, Thursdays and Fridays at 7 p.m., Saturdays at 8 p.m., and Sundays at 2:30 p.m. Tickets cost $25, $15 for students. Dinner and theater packages are available online at scc-arts.org or by calling the box office at 631-287-4377.

“Clever Little Lies,” Joe DiPietro’s comedy about love, marriage, deception, and infidelity, will open the Hampton Theatre Company’s 2017-18 season today at the Quogue Community Hall and continue through Nov. 12.

When Alice’s husband, Bill Sr., comes home on edge after playing tennis with their son, Alice invites Billy and his wife, Jane, over for cocktails and cheesecake. Chaos ensues as Alice digs for the truth, resulting in even more honesty than anyone expected.

Reviewing the play for The New York Times in 2015, Charles Isherwood called it “good old-fashioned comfort food for theatergoers who prefer entertainment that caters to their long-established tastes, plays that offer a blend of comedy and sentiment, with maybe just a hint of a sting.”

The cast includes Diana Marbury, the company’s artistic director, as Alice, Terrance Fiore as Bill Sr., Ed Brennan as Billy, and Carolann DiPirro as Jane. Andrew Botsford, president of the H.T.C. board, will direct.

Performances are set for Thursdays and Fridays at 7 p.m., Saturdays at 8, and Sundays at 2:30 p.m., with an additional matinee on Nov. 11. Tickets, which can be purchased at hamptontheatre.org, are $30, $25 for senior citizens (except Saturdays), $20 for those under 35, and $10 for students.

“Bach, Before and Beyond,” a concert series directed by Walter Klauss, will launch its new season on Sunday afternoon at 3 at the Old Whalers Church in Sag Harbor. Mary Hubbell, a soprano, will perform “Bach to Broadway,” a program of music by Bach, Fauré, and Mozart, as well as show tunes by Gershwin, Lerner and Lowe, and Rodgers and Hammerstein. 

Mr. Klauss, who will accompany Ms. Hubbell on the organ, has designed the programming “to offer our audiences a wide variety of stunning music from various cultures, both American and international.” Subsequent programs will include “The Voice of Women,” featuring Accord, a women’s a cappella group, on March 11, and “Exotica,” with Liu Fang performing on the pipa, an ancient Chinese stringed instrument, on May 20.

Tickets are $20 at the door or at the Romany Kramoris Gallery in Sag Harbor.

“A lot of movie stars are movie stars because they basically play themselves all the time,” Bob Balaban said to Annette Bening during their discussion at the East Hampton Middle School as part of the Hamptons International Film Festival’s A Conversation With . . .  series. “To me, the more I’ve watched you, the more I’ve been amazed at how you become other people . . . which I find wonderful and also amazing in somebody who is a ‘star.’ ”

The highlight reel that preceded the conversation offered especially dramatic proof of that.

Ms. Bening was in town for the East Coast premiere of “Film Stars Don’t Die in Liverpool,” a narrative feature based on the British actor Peter Turner’s memoir of his relationship with Gloria Grahame, the older American actress often cast as a femme fatale in film noir movies.

“I had studied Gloria when I did ‘The Grifters,’ ” said Ms. Bening, referring to the 1990 neo-noir crime drama, “but there wasn’t much reliable information about her. We all used Peter’s book and his point of view as inspiration for what we were doing. He is a beautiful man, and we all kept going back to talk to him about his experience. The film is a very close-up picture of a relationship. There’s something very universal about it.”

Ms. Bening came to movies relatively late. Raised in San Diego, she attended community college for two years before earning a theater degree from San Francisco State University. She then joined the American Conservatory Theater and worked as a community theater actress for many years.

She moved to New York City when she was 28 and soon landed a role in Tina Howe’s play “Coastal Disturbances,” which earned her a Tony Award nomination. “I think it was helpful that I didn’t move to New York when I was a ‘baby,’ and I didn’t start to do movies until I was almost 30. That helps in a way to deal with the phenomenon of becoming known.”

“I was lucky for having done ‘Coastal Disturbances.’ We did it for almost a year, and that’s when you really learn about yourself as an actor. It’s one thing to do it for a short run, or a film where you’re doing a scene for maybe two days and then you’re done with the scene. With a play, you have to find a new way to approach it every time.”

She cited as one her most important influences Milos Forman, the Czech-born director who cast her in “Valmont,” which was based on the epistolary novel “Les Liaisons Dangereuses.” “Milos taught me a lot about acting. He was tough, and he was right. A lot of American directors are much more nurturing and sensitive and build you up. Milos would say, ‘That’s not natural,’ and he was right.”

Among the other directors she discussed having worked with were Stephen Frears and, at some length, Mike Nichols. “I worked for Mike on ‘Regarding Henry’ with Harrison Ford in 1991. I was playing Harrison’s wife and I was so nervous, as I was just starting in movies. And I remember both of them saying how nervous they were on the first day, and I thought, ‘You’re nervous? But you’re Mike Nichols!’ ” 

“That was a great lesson, and one I try to pass on as often as I can, especially to acting students. Every time somebody puts a camera in your face, it’s a natural human response to become self-conscious.”

The discussion turned to rehearsal. “Some people like it, and some don’t,” she said. “At the beginning I thought, what do I know? I’ve never done movies. I did a film with Robert De Niro early on. He didn’t want to rehearse,” and she wasn’t about to argue with him.

Sydney Pollock hated rehearsal, according to Mr. Balaban, who worked with the director in “Absence of Malice.” “If he saw us going over a scene beforehand, he would say, ‘What do you want to do, be perfect? Make a mistake on film, it’s much more interesting.’ ” “If I had my druthers,” said Ms. Bening, “I would rather rehearse. But I just did a film where we didn’t rehearse at all. We didn’t even discuss it. It’s scary. You show up, and suddenly you’re my husband or you’re my mother or I’m your mother. It’s intimidating, but I’ve learned to get used to suddenly being there and there’s a crew and they say, ‘Action,’ and it’s my turn.”

“For me rehearsal doesn’t just mean sitting and trying to do it the way you’re going to do it. It’s about getting to know the other people. It bonds people, you become a family, you become a unit. With many films, especially independent films, there’s no time to rehearse, they can’t afford it.”

Asked by a member of the packed audience how she picks projects, she said, “Because I have four kids, it’s often when is it shooting and where. ‘Being Julia’ was shot in Hungary and London during the summer, so I was able to bring my kids.”

In Walter Isaacson's new book, "Leonardo da Vinci" (reviewed in this week's issue of The Star), there is an extended passage about a work that was long presumed lost but was found not too long ago in a small regional auction house in the United States.

"Salvator Mundi‚" or "Savior of the World‚" will be offered for sale at Christie's auction house in Manhattan on Nov. 15. Purchased by a group of art dealers and collectors in 2005, their efforts to authenticate it ("six years of painstaking research and inquiry," according to the auction house) bore fruit in 2011, when it was unveiled at an exhibition at the National Gallery in London. Christie's has estimated that the painting will achieve a price "in the region of $100 million." Of the only 20 paintings known to be by Leonardo, this is the last one owned privately. 

The painting's earliest recorded owner was King Charles I of England, who was charged with treason and beheaded. It descended into the collection of Charles II and was then sold in 1763 by the illegitimate son of the Duke of Buckingham. The painting disappeared for almost 150 years, and when it re-emerged in a 1900 auction it was assumed to be a copy made by one of Leonardo's followers. When the purchaser's collection was dispersed in 1958, it sold for about $100 at Sotheby's. Its trail went cold again until its rediscovery in 2005. It has since changed hands again, first sold to a Swiss art dealer for $80 million in 2013 and then to "a Russian fertilizer billionaire for $127 million," according to Mr. Isaacson's book.

The unusual decision to sell the painting in the contemporary sale was explained by Loic Gouzer, a chairman of the postwar and contemporary art department at Christie's in New York, in a press release: "Despite being created approximately 500 years ago, the work of Leonardo is just as influential to the art that is being created today as it was in the 15th and 16th centuries."

This estimation is borne out in Christie's auction of Andy Warhol's "Sixty Last Suppers" on the same evening. Warhol, a part-time Montauk resident who died in 1987, made the silkscreen on canvas in 1986. Playing with the same notions of reproduction and copies that had marked much of his work, Warhol used a print of an old oil copy of Leonardo's mural as his image. He made 100 different versions of the work and displayed 22 of them in the Santa Maria delle Grazie church in Milan, which is the home of the original tempera mural.

The estimate for the Warhol painting is $50 million. 

"Salvator Mundi" will be shown at exhibitions in Hong Kong, San Francisco, London, and New York, where it will be on view from Oct. 28 to Nov. 4.

An encore screening of Vincenzo Bellini’s opera “Norma,” which opened the new season of the Met: Live in HD two weeks ago, will take place at Guild Hall on Saturday at 1 p.m. The new production of the bel canto tragedy is conducted by Carlo Rizzi and directed by David McVicar. It stars Sondra Radvanovsky in the title role, which the soprano Renata Scotto has called “the Everest of opera.”

One of the world’s leading interpreters of the Druid high priestess, Ms. Radvanovsky has previously sung the role at the Canadian Opera Company, the San Francisco Opera, the Bavarian State Opera, Gran Teatre del Liceu, and the Lyric Opera of Chicago. Tickets are $20, $15 for Guild Hall members.

Victoria Bond, a composer, conductor, and opera scholar, will give a pre-opera lecture on “Norma” at noon. Tickets are $30, $28 for members.

Guild House Applications

Guild Hall has announced that it is accepting applications to the 2018 Guild House Artist-in-Residence program through Nov. 10. Open to early career artists in the visual, literary, and performing arts, it is not a studio-based program but rather an opportunity for reflection and the development of supportive and collaborative relationships.

For the first time, applicants can select from two four-week periods. The spring session will run from April 2 through April 30, the fall program from Oct. 22 through Nov. 19. More information and a link to the application can be found at guildhall.org.

Folioeast Barn Show

Folioeast is on the move again. Founded by Coco Myers, Folioeast is an online gallery that features work by select contemporary artists, most of whom live on the East End. It has also organized pop-up exhibitions at a variety of venues.

The next show, including work by Shari Abramson, Perry Burns, Chris Haile, and Kryn Olson, will open with a reception tomorrow from 5 to 8 p.m. at Ms. Olson’s studio barn at 18 Skimhampton Road in East Hampton. The exhibition can be seen through Nov. 5 by emailing coco@folioeast.com for an appointment.

Three at Ashawagh

Ashawagh Hall in Springs will host an exhibition of work by Veronica Mahoney, Bo Parsons, and Charles Newman Antiques on Saturday and Sunday from 11 a.m. to 7 p.m. A reception will take place Saturday from 5 to 7.

Ms. Mahoney will show oil landscapes and large abstract watercolors, Mr. Parsons will exhibit ceramic and wood sculpture, and Mr. Newman will present 19th-century oils, watercolors, and prints, and select pieces of antique and midcentury furniture.

Milton Glaser Doc and Panel

“To Inform and Delight,” a documentary by Wendy Keys about the renowned graphic designer Milton Glaser, will be shown this evening at 7 at the John Jermain Memorial Library in Sag Harbor. 

The screening will be followed by a panel discussion with the artist Reynold Ruffins, a close friend of Mr. Glaser’s and a founding partner with him, Seymour Chwast, and Edward Sorel of Push Pin Studios; Walter Bernard, a graphic designer and art director who formed WBMG with Mr. Glaser, and Paul and Myrna Davis, both of whom worked at Push Pin during the 1960s.

Registration for the free program is required.

John Stefanik at Jermain

Also at John Jermain, “Obsessed by Light,” an exhibition of black-and-white photographs by John Stefanik, is on view through Nov. 14. Mr. Stefanik, who lives in Sag Harbor, captures mood, motion, and light in a style reminiscent of the Hudson River School painters. His subjects include the East End’s bays, estuaries, and waterways, as well as its woods and abandoned farmhouses.

It’s become a staple of the major league ballpark experience, sung during the seventh-inning stretch, when fans rise from their hard plastic seats to let blood circulate and aid in the digestion of Nathan’s finest, cheese fries on the side. It’s rousing, it’s joyful, its singsong verses suitable for lusty belting en masse and en plein air. But how exactly did “Take Me Out to the Ball Game” come to be such a tradition, and is there anything behind the surface meaning?

George Boziwick knows all about it. Until recently the head of the music division of the New York Public Library for the Performing Arts, in 2008 he curated an exhibition on the 100th anniversary of the song and has lectured on it at the National Baseball Hall of Fame in Cooperstown, N.Y. Now, on Saturday at 4 p.m., he’ll be at the Bridgehampton Museum’s archives building to show slides, play recordings, and generally elucidate. 

“The first and second verses we never hear,” he said the other day from his home in the Park Slope section of Brooklyn. “Nowadays we sing only the chorus. But it starts with a woman’s desire to be at the game, not a show.”

“In 1908 it was not a common sight to see a woman at a ballpark. Not only that, she leads the crowd in cheering.” He likened the act to women “protesting for their rights, as suffragists.” And we’re right at the 100th anniversary of the vote for women being signed into law in New York State. “She was an independent woman, so the song explores the idea of a new woman, rooting in public in a boisterous way.”

Jack Norworth’s lyrics, second verse:

Katie Casey saw all the games,

knew the players by their first names;

told the umpire he was wrong,

all along good and strong.

When the score was just two to two,

Katie Casey knew what to do,

just to cheer up the boys she knew,

she made the gang sing this song:

You know the rest.

“So by doing this,” Mr. Boziwick said, “the fictional Katie Casey sets the song on its future course of greatness, because someday a woman will in reality be able to lead the crowd in singing ‘Take Me Out to the Ball Game’ at the ballpark, just as Katie Casey does in the song and as we do today.”

“Two other similar songs soon followed” — he’ll play them and other baseball songs of the period on Saturday — “but this is the only one to state that a woman could and should be at a game, rooting in the stands like the men. It’s not patronizing.”

On a personal note, a trip to Bridgehampton for Mr. Boziwick is nothing new. On his mother’s side (Jean Kuch was her name), he’s a distant relation of Carl Yastrzemski, who’s a feature of the current exhibition where he’ll be speaking, and his father, whose mother’s maiden name was Norsic, lives in Sag Harbor.

But enough of the past, the man had to ring off. There was a Yankees playoff game to get ready for.

Three new exhibitions — “Recollection: Selections From the Permanent Collection,” “Yektai,” and “Pamela Top­­ham” — will open on Saturday at Guild Hall and remain on view through Dec. 31. 

“Recollection” will feature both important works from the museum’s holdings as well as rare and unusual pieces. Organized by Jess Frost, the museum’s associate curator and registrar, it is the first of an annual series and coincides with a digitization project that will enable greater educational access to the holdings.

Among the highlights are Fairfield Porter’s “The Plane Tree,” from 1964, and Elaine de Kooning’s “Bacchus #63,” from 1982. The close-cropped foliage in Porter’s painting and the absence of a horizon line suggest a formal relationship to such Abstract Expressionist works as Ms. de Kooning’s. 

At first known for his hard-edged geometric paintings, in the 1970s Al Loving began constructing banner-like works from brightly colored strips of canvas, a process born out of his African-American family’s quilting tradition. The exhibition includes one such work, his “Untitled” from around 1975.

Frank Stella’s “Lanckorona III,” 1971, made from fabric, felt, wood, acrylic, and canvas, is another rarely seen work from the collection that will be on view. Ms. Frost will lead a gallery talk on Oct. 29 at 2 p.m.

“Yektai” features the work of Manoucher Yektai and his sons, Nico and Darius, all of whom live on the South Fork. Born in Tehran in 1921, Manoucher spent several years in Paris after World War II before moving in 1947 to New York City, where he studied at the Art Students League and found himself part of the emerging New York School. 

By 1951 he was exhibiting at the Grace Borgenicht Gallery, as were such contemporaries as Joan Mitchell and Milton Avery. His abstract paintings from that period were characterized by heavy painterly impasto and an emphasis on the physical presence of the paint. 

His later work, which was marked by increased figuration and less reliance on the trowel and palette knife, encompasses the human figure, the landscape, and still life.

Nico, who was born in Iran in 1969, began making furniture for his parents as a teenager and has focused ever since on unique, utilitarian objects. He works primarily with wood, concrete, and glass to create pieces that “have a visual energy that transcends their solid form,” according to Christina Strassfield, Guild Hall’s museum director and chief curator, who organized the exhibition.

Born in Southampton in 1973, Darius knew early on that he, too, wanted to be an artist. His work moves fluidly between painting and sculpture, often blurring the distinction between the two. Many of his sculptures are created from old paint tubes used by his father and wood remnants discarded by his brother. 

A panel discussion with Nico and Darius, moderated by Ms. Strassfield, will take place on Nov. 11 at 3 p.m. A reading of Manoucher’s poetry is set for Dec. 2 at 11:30 a.m.

Miss Topham was awarded top honors in Guild Hall’s 77th annual Artist Members Exhibition by Marla Prather, who was at the time curator for the development of modern and contemporary art at the Metropolitan Museum of Art.

Working from detailed colored pencil drawings as well as from sketches and multiple photographs, she translates the colors and textures of the East End’s land and seascapes into tapestries that use traditional and nontraditional tech niques. 

In her words, “I weave on a high-warp tapestry loom using wool, silk, and linen in varied textures and hues to form the foreground, while fine gradations of wool and silk capture the interplay of the ever-changing relationships of earth, sea, and sky in the distance.” Ms. Topham will give a gallery talk on Nov. 4 at 3 p.m.

The Art of Song concert series will present Steve Washington, a jazz and blues vocalist, on Sunday at 4 p.m. at the Session House of the East Hampton Presbyterian Church. The program will pay tribute to Nat King Cole, Tony Bennett, Sammy Davis Jr., Johnny Mathis, Joe Williams, Johnny Hartman, Al Jarreau, and Harry Belafonte. Mr. Washington performs his blend of big band, cabaret, and jazz regularly at top venues in Washington, D.C., Maryland, and Virginia, and he recently debuted at New York City’s Metropolitan Room. 

Mr. Washington will be accompanied by Jane Hastay on piano, Peter Martin Weiss on bass, Baron Lewis Jr. on trumpet, and John Cataletto on drums. Ms. Hastay and Mr. Weiss host the series. Tickets are $20 at artofsong.org.