The Parrish Art Museum in Water Mill will hold a book club-style discussion tomorrow at 6 p.m. on “25 Women: Essays on Their Art,” a new book by Dave Hickey, an art critic as provocative as he is influential. The volume collects Mr. Hickey’s most important writings about female artists from the past 20 years. Tickets to the discussion, which will be led by Terrie Sultan, the museum’s director, and take place in the museum’s cafe, are $10, free for members and students.

While the book discussion is taking place, the museum’s Lichtenstein Theater will be undergoing preparation for Spring Fling, an annual dance party that benefits the institution’s education programs for children. The evening will feature live music by NOIZ, hors d’oeuvres and an open bar, a silent auction, and a gallery hunt with prizes for the winners. Tickets are $200, $150 for members.

The Bay Street Theater in Sag Harbor, whose recent programs have celebrated Fillmore East and the Newport Folk Festival, will take a turn toward the classical on Saturday at 8 p.m. with a performance of “Don Pasquale,” Doni­zetti’s classic comic opera.

The production is a collaboration between Divaria Productions and Rioja Lirica, a Spanish opera company, both of which are dedicated to making opera more accessible to contemporary audiences. To that end, the opera is stripped down to focus on the music while providing enough narrative to maintain the essence of the story about the miserly Don Pasquale and the rebellious nephew he seeks to disinherit.

Premium tickets are $50, $35 for the middle section, and $25 for side-section seats.  

For the first time in its 16-year history, the Hamptons International Film Festival’s Screenwriters Lab included a master class that was open to the public, and the public turned out in force, filling the theater in the Ross School’s Senior Thesis Building on Saturday afternoon for an hour with Alexander Dinelaris, one of the Oscar-winning writers of “Birdman: Or the Unexpected Virtue of Ignorance.”

Holding forth at warp speed, Mr. Dinelaris delivered more like three hours worth of information, advice, anecdotes, and observations, all leavened with humor, candor, and instructive clips from both “The Godfather” and “Birdman.” 

“Everybody knows there’s no one way to do this,” he said at the outset. “All the instructional books are Aristotle for dummies. And I mean that in a good way. Structure is structure, and it has been forever. If you want to make a movie that’s unstructured, that’s fantastic. You just should know the structure before you blow it up. ‘Birdman’ was structured to within an inch of its life.” 

A key principle Mr. Dinelaris cited was Aristotle’s idea of surprising inevitability. “When you craft a story — or a dirty joke — we want the ending to be both surprising and inevitable.” Or, as the Greek philosopher himself put it: “Tragedy represents not only a complete action but also incidents that cause fear and pity, and this happens most of all when the incidents are unexpected and yet one is a consequence of the other.”

The surprise, or reversal, keeps the audience wondering what will happen next, and one of the keys to this, according to Mr. Dinelaris, is dialogue. “If you stand above your characters, if you know what they’re going to say and how they’re going to say it, they won’t surprise you. And if they don’t surprise you, they won’t surprise anybody. You have to be on the page, know what the scene is, know what you’re trying to write, then put yourself in the place of that person. Then you’ll find yourself saying something you didn’t expect to say.”

He elaborated on the idea of action/conflict/reverse, using as an example the penultimate scene in “The Godfather,” when Diane Keaton’s character asks Al Pacino’s if he really killed his brother-in-law. “The action is when Diane asks if it’s true. The conflict is when he angrily says, ‘Don’t talk to me about my business.’ The reversal happens when he says, with seemingly heartfelt honesty, ‘It’s not true.’ Because the audience knows it is true, it’s left wondering what will happen next.” Does Diane accept his answer? Or does she no longer trust him, and where will that disillusionment lead? According to Mr. Denalaris, that lack of resolution is what the writer should strive for.

He took questions from an audience that included other writers, among them Debra Granik, co-author of “Winter’s Bone,” which he called “definitely one of the best movies of the last 10 years.” He said that while “a lot of people can write a good screenplay, very few can write four or five” and cited William Goldman, Lawrence Kasdan, and Nora Ephron as examples of the latter. The good news, he said, is that “for the first time in history, demand outweighs supply. If you have something that’s well written, you’re going to get seen. People are begging to read good scripts, because mediocre ones come in by the truckload.”

Museum permanent collection shows can be confusing. Some are installed, well, permanently, and others are of the more ephemeral variety. The Museum of Modern Art’s “Jackson Pollock: A Collection Survey, 1934-1954,” for example, has been up for a few months but will be a memory come May 1.

It would be a shame to let it pass by. With the no-stops, all-out retrospective in 1998 a distant memory, this show is a brief, lively, and remarkably complete survey of the best and most important breakthroughs and highlights of the artist’s career. The two decades covered might seem measly compared to other artistic surveys, until you remember that these years cover Pollock’s entire career until his death at 44 in 1956.

The exhibition brings together close to 50 works from the museum’s collection, including many drawings and prints that are rarely put on public display. These rare and little-known works were clearly the catalyst for the show, and are given quite a bit of attention in MoMA’s Prints and Illustrated Books galleries by Starr Figura, one of the drawing and print department’s curators.

The earliest work, dating from 1930 to 1933, is a precious Western scene in oil and crayon on a wooden cigar box, in a style that borrows from Thomas Hart Benton, an early mentor. It continues with lithographs and screenprints from a period when Pollock was absorbing influences from Mexican muralists such as Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco.

In “Landscape With Steer,” a lithograph from around 1936 or 1937, the museum makes the most of the two examples in its collection, one in black and white and the other with airbrushed enamel in bold primary hues. The color heightens an angry sky full of roiling turmoil. The steer stands in the left foreground, stoic and almost comically oblivious to the rush of weather around it. If the work is about the steer, it is a steer in the midst of end times. Even without the color, there is a sense of the apocalyptic about the composition. With only two or three known to be in the edition, these could be the only two in existence. Their rareness makes them much more special than the average edition of 50 or so.

The same fiery scenes of war and destruction continue in an untitled screenprint with gouache and India ink additions, dated from the late 1930s. While mostly colored with yellow, the undercurrent of red keeps the emotion at a high pitch. The violence, perhaps inspired by the onset of the war in Europe, is abstract, but cannot be mistaken.

During the early 1940s, the influence of Picasso is evident in paintings like “Mask” and “Gothic,” and in a series of screenprints on colored paper. Sometimes Pollock included details similar to the work that was inspiration; in other cases, someone recorded him stating that a painting like “Gothic” was inspired by Picasso’s “Demoiselles d’Avignon.” Small reproductions of the original images have been provided on the wall labels for reference.

Although Pollock took inspiration from others directly to painted form, he was just as likely to distill it and find his own interpretation, as he did with other artists in this period such as Miro. The organizers noted that his drawings were not considered preparatory studies but exercises in their own right, even when several sketches look like early renderings of motifs he explored in later paintings. There are also in his printmaking early examples of his all-over compositional approach and the curved lines that would come to dominate his drip paintings.

The museum lays claim to presenting the first drip painting by the artist. The 1946 “Free Form,” a small canvas about 19 by 14 inches, looks like a practice piece, but one the artist liked enough to sign and date. The red background is attention-getting, but it was not a regular motif in his subsequent larger paintings (although the color still made appearances in the mix).

An early follow-up painting, “Full Fathom Five,” incorporates not only the drip technique but the odds and ends of Pollock’s toolbox and so much more. The darkness of the canvas, its hints of the dappled sea, and its reference to Shakespeare’s “The Tempest” point to watery depths. It is as if a giant wave of paint had washed over his studio and swept up in its path bits of detritus. Objects such as nails, tacks, a washer, coins, the eraser end of a pencil, and a key, among others, are immersed with a palette knife into a dense and gritty impasto. The tactile and brackish texture is overlaid with poured lines and drips of light blues, silvers, and teal. The combination makes for a rich and chewy composition, and one of sublimity.

There is so much black in Pollock’s oeuvre, and particularly in these works. In an early painting like “The Flame,” from the mid-1930s, he can’t have fire without the charcoal it creates dominating the composition. A painting such as “Shimmering Substance,” with its deep play of white curves and squiggles over mostly primary colors and just a hint of black, therefore comes as a relief. The museum notes that this 1946 canvas was one of his first fully non-representational works and part of a series known as “Sounds in the Grass,” seven paintings that use a much lighter palette. They are believed to be a response to his new environment in Springs, where he and his wife, Lee Krasner, moved in late 1945. 

“White Light,” a painting from 1954, is the latest work in the show and also has a sunnier disposition. It and the nearby “Easter and the Totem,” from 1953, signal the artist’s movement back and forth between light and dark colors, non-objective painting and figuration, and brush and poured application in his late phase. It was a period of struggle that evolved into a long artist’s block, which ended only with his death in 1956.

Most of the people in the galleries on Saturday crowded around the handful of celebrated drip paintings. I was happy for them, tourists and casual observers having this opportunity to see the works in glorious context, even though they will no doubt return to their regular places in the painting and sculpture galleries once the show closes. I was even happier for myself, as the crowd’s enthusiasm allowed me more time and space to appreciate Pollock’s less heralded works before these Persephones disappear into the underworld of storage once again.

Earth Day in Springs

Sustainable is the name of the game this weekend at Ashawagh Hall in Springs, where “Earth Day Art and Design” will feature painting, sculpture, furniture, music, presentations, and other activities on Saturday from 10 a.m. to 9 p.m. and Sunday from 10 to 5. A reception will take place Saturday from 6 to 9.

Organized by Anahi DeCanio, the event will include presentations by Edwina von Gal, the Springs landscape designer whose Azuero Earth Project in Panama is devoted to healthier farming methods and preservation of biodiversity, and Dan Welden, the Noyac artist who developed the nonhazardous Solarplate printmaking process.

Furniture made from reclaimed lumber by ZCI Woodworks and repurposed magazines by Nuala will be on view along with artwork by Josh Hadar,  Jim Gemake, Christine D’Addario, Lori Horowitz, Geralyne Lew­andowski, Michele Dragonetti, Mary Milne, Idoline Duke, Mr. Welden, and Ms. DeCanio.  

On Saturday afternoon, earth-friendly vendors will hold forth on the Ashawagh lawn, where Job Potter will provide the music.

Members Show Is Here

Guild Hall’s 78th annual Artist Members Exhibition will open Saturday with a reception from 4 to 6 p.m. and continue through June 4. The show is the oldest non-juried museum exhibition on Long Island and one of the few non-juried exhibitions still offered. This year’s awards juror is JiaJia Fei, digital director  at the Jewish Museum in Manhattan. 

The winner of the top honor will receive a solo show in Guild Hall’s Spiga Gallery. Prizes will also be awarded in the following categories: best abstract, best mixed media, best representational, best work on paper, best photographs, best sculpture, and best new member, which is given to an artist new to the exhibition. In addition, the $250 Catherine and Theo Hios award honors the best landscape.

Lee Krasner Survey

A survey of five decades of Lee Krasner’s work will open today at the Robert Miller Gallery in Manhattan and remain on view through June 4. The exhibition celebrates the 30th anniversary of the Pollock-Krasner Foundation, which was established under Krasner’s will to support artists of merit with demonstrated financial need.

The show focuses on the artist’s recurring themes and obsessions, including her belief that she was “never free of the past” and that “the past is part of the present, which becomes part of the future.” The exhibition is accompanied by a fully illustrated catalog, which includes an homage by Patti Smith.

Syd Solomon in Florida

“Syd Solomon: Concealed and Revealed,” an exhibition of more than 30 works organized by the estate of Syd Solomon and the Berry Campbell Gallery of New York City, will open Friday, April 29, at the Museum of Art in Deland, Fla., with a reception from 5 to 7 p.m. It will run through July 10. 

While Solomon, who divided his time between East Hampton and Sarasota, Fla., from 1950 to 1999, has been cited for infusing the spirit of Romanticism into the processes, scale, and concepts of Abstract Expressionism, the exhibition adds to an understanding of his art by focusing in part on his work as a camouflage artist during World War II and on his early training in lettering. It will include historical documents relating to those endeavors as well as artworks.

A catalog with essays by Michael Auping, chief curator of the Modern Art Museum in Forth Worth; George Bolge, director of the Museum of Art in Deland, and Gail Levin, an art historian and artists’ biographer, will accompany the exhibition, which will travel to the Greenville County Museum of Art in Greenville, S.C., in August.

Ray Parker’s “Simple” Paintings

An exhibition of paintings by Ray Parker, who had a house in East Hampton from 1974 until his death in 1990, will open next Thursday at the Washburn Gallery in Manhattan and remain on view through June 24.

The works in the show, which Parker referred to as his “simple” paintings, are generally composed of two or three areas in two or three colors on canvases ranging in size from 8 by 10 inches to 85 by 100 inches. According to a 1965 essay on Parker’s work by Priscilla Colt of the Dayton Art Institute, “Parker has been engaged in a pursuit of far-reaching implications: He is renovating the art of painting and, through it, visual history.

It has now been more than 20 years since Jerry Garcia, guitarist and cofounder of the Grateful Dead, died at age 53, effectively ending the band’s 30-year lifespan. In the ensuing years, however, the Dead’s influence has not only persisted, but directly inspired both countless other bands and an entire musical genre. The “jam band” phenomenon, characterized by extended improvisation and fusions of diverse musical categories often grouped under the Americana rubric, is now manifested on radio stations, streaming services, and charts, as well as massive, days-long concert festivals.  

Roses Grove Band is one such group that takes its inspiration from the Grateful Dead. The quartet, which has been together for a little more than a year, will play at the Stephen Talkhouse in Amagansett tomorrow at 8 p.m. Admission is $10. 

The band performs the Grateful Dead’s music, but like its inspiration, Roses Grove Band is branching out to include in its repertoire cover songs that the Dead performed as well as music by an accomplished jam band with its own fanatical following, Phish.    

“I love Americana; I love improvisational music,” said Jon (Hondo) Weissberg, Roses Grove’s drummer. The Grateful Dead, he said, “really combined those two things very well.” Such is Mr. Weissberg’s reverence for the Dead that he moved to the band’s hometown, San Francisco, with several musician friends after graduating from the State University of New York at Oneonta, staying for several years. For a time, he lived on Haight Street, once the epicenter of the 1960s counterculture as personified by the Dead, who lived in a communal house on nearby Ashbury Street from 1966 to ’68. 

By his estimation, Mr. Weissberg attended more than 50 Grateful Dead concerts, and while in San Francisco took in many more by the Jerry Garcia Band, one of the guitarist’s many side projects. 

Back on the South Fork, Mr. Weissberg played with other groups, “but never got to play the music I’d loved for so many years” until joining his current band, the name of which is a reference both to Roses Grove Road in North Sea, near his house, and the Dead’s iconic skull-and-roses logo. 

For Ben Chaleff, the band’s bassist, “I’m trying to make up for lost time by listening to their music.” Though he missed opportunities to see the Dead in its later years, he began to appreciate the music around the time of Garcia’s death, attracted in part by its musical influences, which matched his own. “I grew up listening to similar music, even though there is a big generational difference. It seemed a natural evolution,” said the musician. Those, he said, include blues, folk, and bluegrass, music of the late Bahamian guitarist Joseph Spence, and “good old fashioned rock ’n’ roll from Chuck Berry.” 

Mr. Chaleff, along with Brian LeClerc and Chuck Gallanti, the band’s guitarists, had played together off and on for several years, often meeting at open mike events such as a weekly jam overseen by Mr. Weissberg for several years at the Hotel Fish and Lounge in Hampton Bays. In their short time as Roses Grove Band, they have performed at venues including the Back Bar Grille in Hampton Bays, the North Sea Tavern and 230 Down in Southampton, the Westlake Fish House in Montauk, and the Quogue East Pub. 

“When we’re jamming, when we’re all on the same page, it’s a lot of fun,” said Mr. LeClerc, a veteran of many South Fork bands. “Everybody really enjoys what they’re doing, and it shows when we’re playing.”

“I’ve always been fortunate to play with amazing musicians, and he’s definitely one of them,” Mr. Weissberg said of Mr. LeClerc. “We do like to jam. I think that’s where we shine — stretching out songs, taking them places, putting our twist on them.” 

Fans of the Grateful Dead, or Deadheads, have responded to that twist. The band was a featured artist on the Dead Covers Project at the website dead.net on the strength of a recording featuring a medley of “West L.A. Fadeaway” and “Mr. Charlie.” A video of the performance has been viewed more than 1,100 times on YouTube. 

Just as no two Grateful Dead concerts were alike, tomorrow’s Roses Grove Band show may include debut performances. “We’re constantly changing,” said Mr. Chaleff. “That’s the great thing about the Grateful Dead songbook — there’s a million songs.”

There was a time in the 1970s when a New York theater critic began referring derisively to the playwright Neil Simon as “Simple Simon.” The reference was to Mr. Simon’s penchant for writing light, funny‚ and perhaps superficial plays such as “The Odd Couple,” “Barefoot in the Park,” and “The Sunshine Boys.”  

Then in the 1980s Mr. Simon began a series of autobiographical works known as the “B” plays: “Brighton Beach Memoirs,” “Biloxi Blues,” and “Broadway Bound.” While they were still essentially comedic, these plays were also studded with moments of pain that alluded, directly or indirectly, to Mr. Simon’s difficult Depression-era childhood, and they began to earn the playwright the critical respect that had previously eluded him. This new cycle of works culminated in 1991 with “Lost in Yonkers,” which earned Mr. Simon the Pulitzer Prize. By this time “Simple Simon” had been long forgotten.  

“Lost in Yonkers” is considered Neil Simon’s best work for good reason: It is a serious family drama that carries echoes of classics of the American stage, such as Tennessee Williams’s “The Glass Menagerie,” while still displaying Mr. Simon’s unfailing gift for humor. A very solid and crowd-pleasing version of the play is currently running at the Hampton Theatre Company in Quogue through Sunday.

The setting is Yonkers, N.Y., a short time after the attack on Pearl Harbor. Eddie Kurnitz has just lost his wife to cancer and must leave home to sell scrap metal to the Army in order to pay for medical bills he has incurred during her hospital stay. The problem is what to do with his two teenage sons, Jay, 15, and Arty, 13. With nowhere left to turn, Eddie appeals to his mother for help.

Grandma Kurnitz, who survived persecution in Berlin before the war, doesn’t want the boys. She has her own hands full with her daughter, Bella, a daffy, child-like spinster who lives at home. Nevertheless, for the sake of family and dramatic effect, the boys end up at Grandma’s.

This is not, however, the jolly grandma of apple pie and card games.  Played with steely bitterness by Diana Marbury (she also provided the convincing set decor), Grandma Kurnitz tries to turn her misery on anyone in her path (“Everybody in Yonkers is afraid of Grandma!” says Jay). And with the arrival of the mischievous boys, the playwright has a perfect set of foils, though this odd couple plays for higher dramatic stakes.

The performances are solid all around, especially the infectiously charming James Baio as Jay and Christopher Darrin as Arty. Edward Kassar has a nice turn as Louie, Eddie’s loveable tough-guy brother; he especially shines in the play’s climactic set piece where he is urged by Bella to sit down for her big announcement (she’s getting married), while at the same time watching out the window for the gangsters who are pursuing him.

But it is Bella who must carry the play, and Rebecca Edanas terrific in the role. Like Tom in “The Glass Menagerie,” Bella is a woman saddled with an infirm family member who has stunted her entry into the world, and Ms. Edana manages to bring heart-tugging empathy to the character. It’s a lot to ask of an actor to embody a character who’s both slow-witted and emotionally lucid — it’s what no less an actor than Tom Hanks managed to pull off in Forrest Gump. And when Ms. Edana delivers this play’s version of the “I know what love is” speech to Grandma Kurnitz, it leaves a mark.

The play is well directed by George A. Loizides, though there were times when the actors’ projection seemed a bit hushed (this could also be a kink in the theater’s acoustics). The crowd at the Hampton Theatre Company leans toward the senior circuit, and there were some rumblings at intermission regarding volume level.

All told, though, this is a highly enjoyable night of theatre. Mr. Simon’s “Lost in Yonkers” may not quite stack up with the heavyweight family stage epics of Eugene O’Neill and Arthur Miller, but its balance of humor and drama is deeply satisfying. This Hampton Theatre Company version does it justice.

At Harper’s Apartment

Harper’s Apartment, the Upper East Side outpost of Harper’s Books, will hold an opening reception for “John Gossage: Distractions and Failures” today from 6 to 8 p.m. The exhibition, open by appointment only, will run through May 14.

Mr. Gossage has had an unusual career, leaving school at age 16 to study with Lisette Model, Alexey Brodovich, and Bruce Davidson. He is known for his photographs of nondescript elements of the urban environment such as abandoned lots, debris, garbage, and other “uninspiring things that no one ever notices,” according to Harper Levine, the gallery’s owner.

The exhibition will include works from his 1990s “Distractions” series, which consists of seemingly banal photographs with pasted scraps of color paper or gibberish, as well as work from his newest series, “Failures.”

Photographers East at Ashawagh

Photographers East will hold its annual spring exhibition at Ashawagh Hall in Springs on Saturday and Sunday, with a reception set for Saturday from 5 to 8 p.m.

Participating photographers are Bill Alves, Nina Bataller, Fred Bertrand, Marilyn Di Carlo-Ames, Gerry Giliberti, Dave Gilmore, Bruce Milne, Sandy Peabody, Anne Sager, Joan Santos, Dainis Saulitis, Fred VanderWerven, and Denis Wolf.

Group Show at Kramoris

An exhibition of work by six artists will open today at the Romany Kramoris Gallery in Sag Harbor and run through May 5. A reception will happen Saturday afternoon from 4 to 5:30.

While all the artists paint more or less representationally, there is considerable variation to their approaches. Berges Alvarez’s mixed-media works use filters, light, plastic, cameras, and rejected film to create stylized landscapes. Casey Chalem Anderson’s oil paintings capture the serenity of the local landscape. Lianne Alcon’s expressionistic canvases are loosely painted.

Martha McAleer’s mixed-media works are built up from acrylic paint and plaster to render the landscape with vibrant colors. Sherry Pollack Walker represents body-builders, weightlifters, and boxers in pastel and graphite. Jennifer Levine’s style is more playful and primitive, with echoes of Klee and Chagall.

Michelle Stuart Gallery Tour

Michelle Stuart, whose exhibition “Theatre of Memory: Photographic Works” is on view at the Bronx Museum through June 26, will conduct a gallery tour with Gregory Volk, the show’s curator, on Saturday from 2 to 3:30 p.m. A reception for the artist, who has a house in Amagansett, will follow, as will a book signing.

Sagg Pond Photographs

“Sagg Pond: A Sense of Origin, Wonder, Love,” an exhibition of photographs by Christine Morro, who spends winters in Sag Harbor, will open at the Long Pond Greenbelt Nature Center in Bridgehampton with a reception on Sunday afternoon at 2 and remain on view through the fall. The Sagg Pond collection includes a series of texts and photographs drawing on the artist’s almost daily visits to Sagg Pond over a period of five years. 

North Fork Residency 

The William Steeple Davis Trust is now accepting applications for an artist residency at its house and studio in Orient for the period of Oct. 15 through June 15. Previous residents have included painters, photographers, writers, sculptors, poets, and musicians. 

More information and applications are available by email to wsdtrustgmail. com.

The Hamptons Take 2 Documentary Film Festival’s Spring Docs Day will celebrate cats, dogs, and songbirds with three films and a daylong silent auction on Sunday from noon to 7 p.m. at Bay Street Theater in Sag Harbor.

Feline fans will want to catch “The Internet Cat Video Festival,” the fourth installment of the Walker Art Center’s selection of the best cat videos, which will be shown at 1 p.m. Will Braden, the creator of the “Henri Le Chat Noir” series, has assembled the 65-minute program, which features approximately 100 videos and drew 13,000 people to the Minneapolis museum’s outdoor screening space last summer. 

Darcy Dennett’s “The Champions” is the story of the pit bulls rescued from the fighting ring of Michael Vick, at that time the Atlanta Falcons’ star quarterback, and Best Friends Animal Society and BADRAP, a pit bull rescue organization, which together saved more than 30 dogs despite pressure from PETA and the Humane Society of the United States to euthanize them. The film also highlights breed discrimination towards pit-bull type dogs. “The Champions” will be shown at 3 p.m.

The final program, set for 5:30, will feature “The Messenger,” a documentary by Su Rynard that explores humans’ deep connection to birds and warns that the uncertain fate of songbirds might mirror our own. Filmed in the northern reaches of the Boreal Forest, the base of Mount Ararat in Turkey, the streets of New York, and other locations, the film focuses on the variety of human-made perils that have devastated thrushes, warblers, orioles, tanagers, grosbeaks, and many other airborne music-makers.

The silent auction, which will run from noon to 7 in the theater’s lobby, will include gifts from local merchants, animal-related presents, gift certificates to local businesses and restaurants, and tickets to the Hampton Classic.

“Spring Docs Day” is being co-presented with the Eastern Long Island Audubon Society, the Animal Rescue Fund of the Hamptons, the Southampton Animal Shelter Foundation, the South Fork Natural History Museum, the Friends of the Long Pond Greenbelt, and Tracie Hotchner, a pet wellness advocate and NPR pet radio host.

Tickets to each film are $15, $13 for senior citizens, and $10 for children under 12. An all-day pass can be had for $35. 

The East Hampton Library’s Tom Twomey Lecture Series will launch its 2016 season on Saturday at 5 p.m. with “Colonial Commerce,” a discussion featuring Frank Sorrentino, a researcher, and Steve Russell Boerner, an archivist, both of whom draw upon the library’s Long Island Collection.

Mr. Sorrentino, a retired insurance executive who has developed expertise in colonial currencies and accounting practices, will discuss the account books and other documents of Robert Townsend, who was General George Washington’s chief spy in New York.

Mr. Boerner, whose area of specialization is land and cartographic information, will highlight colonial commerce materials in the Long Island Collection. 

Upcoming lectures indicate the range of the series’ topics: the causes and effects of algal bloom (May 7), the history and sound of the harmonica (May 21), and the 2016 Presidential election campaign (June 4).