Four screenwriters will come to East Hampton on Friday, April 8, to participate in the Hamptons International Film Festival’s Screenwriters Lab, the festival announced this week.

The writers and screenplays selected are Shane Andries’s “The Delegation,” Cathy Yan’s “Dead Pigs,” and Marshall Curry and Davy Rothbart’s “Biggz.” The mentors they will work with are Debra Granik, the writer and director of the Oscar-winning film “Winter’s Bone”; Michael Weber, the co-writer of “(500) Days of Summer” and “The Fault in Our Stars”; Mike Jones of Pixar, who wrote the English adaptations of the Oscar-nominated films “The Wind Rises” and “The Tale of Princess Kaguya,” and Alexander Dinelaris, a recent Academy Award winner for “Birdman: Or the Unexpected Virtue of Ignorance” and the co-producer of last year’s “The Revenant.”

“The Delegation” is about the 1978 visit to Jim Jones’s cult in Guyana that became the catalyst for hundreds of deaths, including the shooting of a congressman and NBC journalists and a mass suicide by cult members, who drank cyanide-laced grape Kool-Aid. “Dead Pigs” captures modern China and the transformations of the landscape and society that have resulted as thousands of dead pigs float down the Huangpu River. “Biggz” is about a 350-pound rapper from Detroit, who makes ends meet by babysitting and dealing drugs. 

Mr. Dinelaris will also present a master class on April 9 at 5:30 p.m., offering his insights into the process that shapes and molds a successful and award-winning script, illustrated with film clips. Registration is required and can be made through the festival’s website.

According to David Nugent, the festival’s artistic director, script submissions for the Screenwriters Lab were up more than 40 percent this year. In a previous announcement, HIFF said a new fund named for Melissa Mathison, a screenwriter for films such as “E.T.: The Extra Terrestrial,” is supporting the participation of screenwriters as well as bringing programs such as the master class to the public.  

For those old enough to remember the psychedelic ’60s, and those who wish they could, Bay Street Theater in Sag Harbor will present “A Night at the Fillmore East: A Musical Tribute to the Legendary Venue” on Saturday at 8 p.m. 

Bill Graham’s theater, located on Manhattan’s Lower East Side from 1968 to 1971, was a spin-off of his Fillmore Auditorium in San Francisco, later renamed Fillmore West. Joe Lauro, a musician, filmmaker, and music archivist who conceived the program, said, “We’re going to re-create what a night at the Fillmore East was like. They always had three bands. A single show I went to in 1970 had the Grateful Dead, Arthur Lee’s Love, and the Allman Brothers.”

Saturday’s program will pay tribute to the Jimi Hendrix Experience, Janis Joplin, and Jefferson Airplane. “We have some very serious musicians who are taking on the roles of these icons,” said Mr. Lauro. “Joe Cumia does a brilliant Jimi Hendrix Experience show; we have Amber Ferrari, who’s known for her show ‘Joplin’s Pearl,’ and I’ve put together the Jefferson Airplane group. Carolyn Droscoksi is doing Grace Slick. When I closed my eyes during rehearsal, I thought Grace was in the theater.”

Other Airplane musicians include George Feaster, who is taking Marty Balin’s role, Dave Giacone, Dan Koontz, and Christopher Walsh, a writer for The Star, who is playing the Paul Kantner part with a 12-string electric guitar and some of the vocals. “Jack Casady, the Airplane’s bass player, was one of my first idols,” said Mr. Lauro, “so I get to really dig into his sound.”

Another highlight of the Fillmore concerts were the psychedelic light shows that provided backdrops for the bands. Gary Hygom, Bay Street’s managing director for production, will create a light show in the Fillmore style. “Gary is the art director for all these shows,” said Mr. Lauro. “I never ask him, and I never know what to expect, but I’m always pleasantly surprised. For our Beatles show, he re-created the Ed Sullivan set.”

In addition to his staging, Mr. Hygom has worked closely with Mr. Lauro on conceptualizing all six of this year’s rock ’n’ roll shows. “Gary and I get together late summer and come up with a list of ideas we think we can pull off and that people would be interested in.” The final program of the series, scheduled for May 7, will be devoted to great music from the late 1950s and early 1960s.

Tickets for Saturday’s show are $30.

Those who prefer their entertainment in a slightly less hallucinogenic key can catch a new “All Star Comedy Show” at Bay Street tomorrow at 8 p.m. Joseph Vecsey, the longtime series host, will welcome the guest comedians Nore Davis, Neko White, and Kase Raso. Tickets are $25 in advance, $30 the day of the show.

The Montauk Library will present “Sei Pupi a Gerusalemme” (Six Puppets at Jerusalem), an original folk opera by Terra Sangue Mare, an ensemble dedicated to the presentation of traditional and contemporary Sicilian folk and roots music, on Wednesday at 7:30 p.m. The folk opera is inspired by Renaissance Italian literature and the Sicilian puppet tradition. The performers are Michela Musolino, a vocalist, and Daniele Turchetti and Michael Delia, musicians who play such unusual instruments as the mbira, the ektara, the bandoneon, the tamburo, and the organetto.

The group will narrate in English and perform songs and dialogue in Sicilian. In addition, they will describe the traditions of the Sicilian puppets but, due to their size, will not use them in their performance. A question-and-answer session will follow.

The Rising Stars piano series will return to the Southampton Cultural Center on Saturday at 7 p.m. with a concert by the Anderson-Roe Duo. Since Greg Anderson and Elizabeth Joy Roe formed their musical partnership in 2002 as Juilliard students, they have appeared on NPR and MTV, toured worldwide as orchestra recitalists and soloists, released four albums, and created 25 music videos.

Praised by San Francisco Classical Voice as “the most dynamic duo of this generation,” their goal is to make classical music a relevant and powerful force in society. The Southampton concert will include works by Mozart/Busoni, Rachmaninoff, Piazzolla/Anderson-Roe, and Brahms/Anderson-Roe. Tickets are $20, but admission is free for students under 21.

In conjunction with the exhibition “Lindsay Morris: You Are You,” the Parrish Art Museum in Water Mill will present a discussion between Ms. Morris, whose exhibition is focused on gender-variant youth, and Nicholas Sweeney, the director of “My Transgender Summer Camp,” their collaborative film based on the show and on her book, “You Are You,” tomorrow at 6 p.m. Excerpts from the film will be shown as part of the program, which is free to members and the general public.

Tap dancing will be on the menu at the Rogers Memorial Library in Southampton on Wednesday at 5:30 p.m. when Brian Seibert, a dance critic and features writer for The New York Times, will discuss his book “What the Eye Hears: A History of Tap.” Considered the definitive history of tap dancing, it was a finalist for the National Book Critics Circle Award in 2015. It was named a best book of 2015 by The Economist and Publishers Weekly.

To get the audience in the mood, the library’s tap class will perform “Boogie Woogie Bugle Boy” before the talk.

Madoo in Manhattan, the third annual Robert Dash Garden Design lecture, will take place on Tuesday at 6:30 p.m. at the Cosmopolitan Club. The guest speaker will be Fernando Caruncho, a Spanish landscape architect whose minimalist landscapes are noted for their use of light and their harmonious geometrical patterns punctuated by sculptural plantings.

Tickets are $150, $125 for members, and advance reservations, which are required, can be made at the conservancy’s website.

The Hamptons Take 2 Documentary Film Festival will begin accepting submissions tomorrow for the 2016 festival, which will take place at Sag Harbor’s Bay Street Theater from Dec. 1 through Dec. 4. Applications can be found online at withoutabox.com, filmfreeway.com, and the festival’s website.

The producers of the film “Barney’s Wall,” about the creative vision and legacy of Barney Rosset, need money to cover post-production costs.

The film focuses on the man and the mural he made in his later years on the main wall of his apartment and office space in the East Village. He worked on the mural until the last days of his life in 2012. In the years following his death, the apartment was sold to developers, and it was clear that the mural would not survive there. 

An effort, described in The Star in 2014, was made to save the wall and, if not, to at least record the interaction of Mr. Rosset’s friends with it as they said goodbye. The filmmakers, Sandy Gotham Meehan and Williams Cole, promise an exciting surprise ending, which may bode well for preservation. In the meantime, the producers need at least $75,000 to complete the film and double that to bring in top professionals, commission a soundtrack, and have the work completed in time for a fall premiere and screenings at film festivals.

Those interested in helping can go to the Kickstarter website for “Barney’s Wall.” There are a number of unique rewards, particularly suitable to the project and its subject beginning at the $25 level. The effort ends on April 23.

On the first day of spring—the season where new life emerges from winter’s deathly clutches—the Choral Society of the Hamptons and the South Fork Chamber Ensemble drew a capacity crowd to the East Hampton Presbyterian Church for a concert of music by Johann Sebastian Bach and Gabriel Fauré pondering themes of death and resurrection.

A complete performance of Bach’s Cantata 4, “Christ lag in Todesbanden,” was the first on the program. A brief Sinfonia provided the South Fork Chamber Ensemble an opportunity to gracefully and tunefully establish the key of E minor, the tonality of each and every one of the seven movements. In one of his earliest experiments with the church cantata form, Bach fashioned six variations on Martin Luther’s hymn tune, with each one utilizing the text from a verse of the Easter hymn. 

Verse one features the full ensemble, and the singers evinced a good blend of tone within each vocal section as well as excellent overall balance; the counterpoint of the first verse was very well danced! Verse two featured a beautifully sung duet by the sopranos and altos. Steve Shaughnessy, on bass, and Miho Zaitzu, on cello, played perfectly in tune with each other and with the organ, while the chorus displayed balance, clarity, and fine pronunciation of the German text. In verse three, it was the turn of the tenor section to take the spotlight. These men and women sang with beautiful tone and blend; however, the low tessitura made it difficult for the singers to project some of the phrase endings as they approached the middle of the bass clef. Verse four featured all voices, with the alto section skillfully presenting a cantus firmus melody that wove together the overall counterpoint.

Enrico Lagasca, a bass-baritone, first appeared in the fifth verse, where he delivered a convincing description of Christ as the Paschal Lamb in a rangy vocal setting that descended several times to low E; Mr. Lagasca’s voice rang out clearly even on these unusually low pitches. In verse six, the sopranos and tenors exhorted the listeners to “keep the festival,” while verse seven saw the triumphant final statement of Luther’s chorale melody as harmonized by Bach; his technique of basing an entire cantata on a single Lutheran hymn served to remind his contemporary listeners that this form of worship had its root in musically and theologically familiar ideas.

Two excerpts from Cantata 27, “Wer weiss, wie nah mir mein Ende,” were next on the program. As Fred Volkmer said in his program notes, this cantata was written more than two decades after Cantata 4, by which point Bach had heard Italian opera. Nita Baxani sang an all-too-fleeting recitative; the text expressed a wish that she “were already in heaven,” and her rendition may have offered a taste of its soundtrack. Mr. Lagasca then returned for an expressive aria bidding good night to the turmoil of the world,  “Weltgetuemmel.” This may be one of the most onomatopoeic words in the German language, and Mr. Lagasca’s enjoyment in singing it was contagious.

The Bach portion of the program concluded with “Jesus bleibet meine freude” from Cantata 147, known to many churchgoers and fans of choral music as “Jesu, Joy of Man’s Desiring.” Hearing this familiar chorale in its original language allowed the audience to appreciate it anew, especially with the chorus’s loving treatment under the Choral Society music director’s, Mark Mangini’s, direction. Christine Cadarette did a fine job accompanying on the piano, using a transcription by Dame Myra Hess. However, after all of their excellent work with the preceding Bach repertoire, it seemed a bit strange that the South Fork Chamber Ensemble sat idle during this piece.  Nevertheless, the comparatively anachronistic use of piano was meant as a reminder that Bach’s music remains a vital component of music in performance and worship today.

The Requiem text has inspired many composers, often with a bent toward vivid imagery depicting the final judgment. In contrast, Fauré’s setting embraces the perspective of a mourner looking for comfort in the face of loss. Perhaps this approach aligns more closely to the present-day approach to funerals and helps to account in part for the work’s enduring popularity. Of the several orchestrations available, the Choral Society selected the most intimate: organ accompaniment, with a brief appearance from a solo violin.

The first movement, Introitus, features the tenor section voicing the plea “Grant them eternal rest, O Lord.” The tenors sang this passage with beautiful tone and blend, but it came across as rather lacking a sense of “pleading.” It is possible that the somewhat brisk tempo in this section made expressivity a challenge. In the next movement, Offertorium, the altos and tenors pleaded quite convincingly for deliverance “from the lion’s mouth” in an opening section so minimally accompanied as to be nearly a cappella. This set the stage perfectly for the baritone, Dominic Inferrera, who sang the “Hostias” solo with earnest delicacy. 

In Sanctus, the violinist Song-A Cho appeared as a soloist, providing a beautiful countermelody to the canon between the sopranos and lower voices. Ms. Cho was outstanding in her execution of a very exposed and rather demanding solo. Pie Jesu saw the welcome reappearance of the soprano, Nita Baxani. Her gorgeous yet simple tone covered a fantastic dynamic range, including a breathtaking decrescendo to pianissimo at the conclusion. There were a few passages within this movement where Ms. Baxani may have wished that the tempo were a bit more fluid to allow for savoring the ends of key phrases; nevertheless, the audience found this movement quite stirring.

The Agnus Dei movement formed the conclusion of Fauré’s original 1888 version of the Requiem, and the chorus and Mr. Mangini showed an incredible attention to dynamic contrasts throughout the “Lux Aeterna” section that echoes the first movement. The addition of the Libera Me movement to the work in 1893 embraces another important facet of the modern funeral experience: even while grieving the loss of a loved one and offering comfort to others, there remains an underlying fear of one’s own mortality. Mr. Inferrera’s interpretation in this movement was highly compelling, both vocally and facially, and he asserted his preferred tempo gently but firmly at the start. The chorus displayed sensitivity and a fantastic range of dynamic levels as they moved from “quaking and trembling” to depicting the “day of anger, calamity, and misery.” Mr. Mangini and Thomas Bohlert, at the organ, handled the meter change into compound time quite ably, allowing the drama to build without interruption. One of the most compelling moments of the entire Requiem is where the chorus takes up the Libera Me text and melody with which the baritone soloist began the movement, turning his personal plea for deliverance into a universal one. The chorus rendered this part with quiet intensity, bringing the movement to a highly satisfactory close. 

The Choral Society deserves praise for bringing the music of Bach and Fauré so vividly to life in a celebration of spring, Easter, and new life in all its forms!