Exhibition openings are few and far between this time of year, but Ashawagh Hall in Springs can be counted on to mount a new show of work by local artists every weekend.

“Winter Wishes, Summer Dreams” will be on view there Saturday from 10 a.m. to 8 p.m. and Sunday from 10 to 4, with a reception set for Saturday from 5 to 8. Participating artists are Abby Abrams, Bobbie Braun, Linda Ca­pello, John Capello, Peter Gumpel, Teresa Lawler, Mary Milne, Debbie Palmer, Alyce Peifer, Gene Samuelson, Rosa Scott, Christine Chew Smith, Cynthia Sobel, Frank Sofo, Bob Sullivan, Ursula Thomas, and Aurelio Torres.

Yonkers is coming to Quogue next Thursday when Neil Simon’s play “Lost in Yonkers,” a Pulitzer Prize and Tony Award-winner, opens a three-week run at the Hampton Theatre Company.

“Lost in Yonkers” is set in the summer of 1942, when Jay and Arty, brothers ages 15 and 13, are dropped off to live at their grandmother’s apartment above the family candy store in Yonkers. Their mother has recently died, and their father has taken to the road as a traveling salesman to pay their medical bills.

Grandma Kurnitz, an Old World matriarch whose sternness scares the teenagers, oversees a household of semi-dysfunctional family members. Aunt Bella is a loving but mentally challenged 35-year-old who longs for independence from her mother. Uncle Louie is a small-time hoodlum on the lam. Aunt Gert has a strange and comical speech impediment caused by her fear of her mother. Eddie, the boys’ father, is also a nervous wreck around the matriarch.

Jay and Arty are determined to raise money to help their father, which might entail stealing $15,000 their grandmother has hidden. Bella’s mission is to summon the courage to tell her family she wants to marry Johnny, her movie-usher boyfriend. Louie’s goal is to survive.

When the play was revived on Broadway in 2012, the New York Times critic David Rooney wrote, “Mr. Simon is working here not as king of the snappy one-liner but from the heart, with a depth of character, humanity and personal investment that places ‘Lost in Yonkers’ among his more affecting works.”

Two newcomers to the Hampton Theatre Company will take on the roles of the teenage brothers: Jamie Baio, a junior at Sayville High School, as Jay, and Christopher Darrin, a 12-year-old actor, singer, dancer, and musician, as Arty. The company’s artistic director, Diana Marbury, will play Grandmother Kurnitz.

The cast also includes Rebecca Edana, Edward Kassar, Catherine Maloney, and Russell Weisenbacher. George A. Loizides will direct, and the set design is by Peter-Tolin Baker, lighting by Sebastian Paczynski, and costumes by Teresa LeBrun.

“Lost in Yonkers” will open next Thursday and run through April 17 at the Quogue Community Hall on Jessup Avenue. Show times are Thursdays and Fridays at 7 p.m., Saturdays at 8, and Sundays at 2:30. Tickets are $30, $25 for senior citizens (except Saturdays), and $10 for students under 21.

Sofia D’Angelo, a 17-year-old singer-songwriter from New York City, will perform at the Parrish Art Museum in Water Mill tomorrow at 6 p.m. Her original music deals with relationships, creativity, and modern life. 

When she was 13 years old, she met Mick Golden, a drummer, and Cyan Hunte, a bassist, at a showcase in the city. The three teenagers formed the Sectionals, and in the three years since, the band has played at the Bitter End, Tammany Hall, the Studio at Webster Hall, and the Stephen Talkhouse in Amagansett. 

Tickets are $10, free for members, students, and children.

In a sure sign that summer is approaching, the Perlman Music Program is holding two concerts this weekend at the Clark Arts Center on Shelter Island. 

On Saturday afternoon at 5, Kenneth Renshaw, a violinist and program alumnus, will perform a selection of works by Brahms, Debussy, Szymanowski, and Wieniawski, accompanied by John Root on piano. Tickets are $25 and include a reception for the artist sponsored by the Ram’s Head Inn.

Students and alumni of the music program will perform a free program of classical masterworks on Sunday afternoon at 2:30.

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!

During a recent conversation at his house and studio on seven wooded acres in Noyac, Dan Welden said, “ ‘Master printmaker’ is a touchy title for me,’ I know printmaking pretty well now, but every so often it will throw me for a bit of a loop. I like the idea that I don’t feel totally secure in any one thing. If somebody knows it all, then they might be considered a master. But that word ‘master’ prevents you from learning more, it puts a ceiling on things.” Little wonder, then, that the ceiling of his great room soars 30 feet.

Master or not, Mr. Welden, in addition to his own work, which has been included in hundreds of exhibitions worldwide, is the director of Hampton Editions Ltd. In that capacity he has collaborated with Willem and Elaine de Kooning, Jimmy Ernst, James Brooks, Dan Flavin, Esteban Vicente, William King, Kurt Vonnegut, Alfonso Ossorio, Jane Freilicher, Eric Fischl, and Jack Youngerman, to name just a few of the notable artists who have worked in his studio.

Mr. Welden started out doing stone lithography and became one of the few printers in the country who had the knowledge, equipment, and facility to practice it. “That provided me with a specialty. I knew that people would come here to do that. But I didn’t want to be swallowed up by that, so I promised to always do one of my own pieces in between anybody else’s.”

Mr. Welden also invented the Solarplate process, which he developed in 1970 when he was studying at the Munich Academy of Fine Arts. “I went there as a painter,” he said. “I was snooping around and saw these people doing prints on stones. I had a master’s degree, but I had never seen a lithographic stone. So the teacher invited me in.”

The teacher was Kurt Lohwasser, who became Mr. Welden’s mentor — “not only in terms of how to do, but in terms of learning how to see and learning how to think.” It was Mr. Lohwasser who first put a Solarplate in his hands and suggested he try it. A Solarplate is a piece of steel with a light-sensitive polymer coating. One can draw on it, paint on it, or put a transparency on it. Wherever the sun hits the plate, it hardens. Unexposed portions of the plate can be dissolved by water.

“Instead of using acid, solvents, and grounds, you’re using sunlight and water. Which happen to be environmentally friendly and safe for artists. The timing was appropriate, and it became very successful.” Mr. Welden has for years conducted workshops around the world on using the process to make both intaglio and relief prints. “There is a tremendous range of possibilities: color, photography, collage effects.” He showed a print by an aboriginal artist he worked with in the Australian outback. He also worked with the Maori in New Zealand.

Because of time constraints, Mr. Welden is conducting fewer workshops, but he still travels widely. “I’ve decided to offer residencies in certain places, instead of teaching workshops. I just came back from Peru. The idea was to allow other artists to enjoy the experience and inspiration of Machu Picchu, and then work with that experience in mind. We’re doing it again next year in Cusco. I’m enjoying the residencies more than anything, because I get away from the telephone.” He also said that he finds inspiration for his own work when traveling, whether in Norway, northern Arizona, or New Zealand. “The landscape is really where it stems from.”

Mr. Welden was born in the Bronx. Because his parents died when he was young, he was raised by his grandparents in Babylon, which was, at that time, relatively rural. “My blind grandmother was actually one of the most supportive people about my artwork. Even though she couldn’t see it, I felt her love and her support just by her comments about how beautiful it must be.”

He attended Adelphi University and considered a career in architecture, but he felt there was too much math involved. Instead he received a degree in teaching and taught art in high schools for five years in Bayport and Lindenhurst. He was painting during those years, but he didn’t feel he had found his direction.

While he was still living on Long Island, his wife at that time suggested they move to Germany, “where they’ll teach you something, and you can also find your roots.” They went for a year but stayed for two. “The second year the work was starting to move, and I was becoming more and more successful selling prints. I thought, ‘I’m sitting high here, wait until I go back to the U.S., where people know me.’ And that was the big mistake. The bottom fell out. I went back to the security of my grandparents’ home.”

However, he managed to get a teaching position at Stony Brook University and expanded his horizons. “Since I was no longer a high school teacher, I had to become much more aware of what the art world was about. And then things started happening in a better way.” Among those things were two sons, Carl, now 42, a performance and voice artist, and Jeffrey, now 38, a chef.

Mr. Welden purchased the acreage in Noyac in 1980 and camped on the property for 14 years without running water while building the house. “I was trying to save money, and by doing that I was able to get this structure going. It took six years, and I built a lot of the house myself.” 

The multileveled structure, which he designed, has a vast main floor overlooked by a mezzanine where he paints and frames. The presses are on a lower level. The house is constructed entirely with joinery, its huge trusses secured by wooden dowels. The scale and materials suggest the great National Park lodges. Among the unusual touches is an old wooden trailer outside the house that contains a sauna.

  Mr. Welden is a modest man whose talents are visible everywhere, from the twisted branches of his second-floor balcony to the to the kitchen floor, whose tiles were hand-painted by more than 200 artists. “This is the most unusual house in the world,” he said, pointing out a doorknob made from one of his hipbones. 

Returning to the “master printmaker” idea, he admitted, “I don’t mind it if they use it on me, but they use it on everybody. I think that title has to be earned. I refused to use it until someone called me their master printer, and that was Bill de Kooning. So I said, ‘I guess I’m a master printer now.’ ”

The All Star Comedy Show will return to Sag Harbor’s Bay Street Theater tomorrow at 8 p.m. with the stars of “The Unmovers,” a popular series of Optimum TV commercials and three-minute YouTube sketches. Joseph Vecsey, the comedy show’s longtime host, with Vladimir Caamano and Leonard Ouzts, take incompetence to unheard-of levels as the fictional Three Brothers Moving company, which is compared unfavorably to Optimum’s efficient “cable guys.”

While no live “Unmovers” sketches are planned for the program, the videos will be played “as a kind of pre-show,” according to Mr. Vecsey. “Otherwise, the show will be straight stand-up.”

Mr. Caamano’s comedy reflects his roots in an immigrant Dominican family living in New York City. He developed his gritty wit in the Bronx and Washington Heights after making the move from Wesleyan University into stand-up. 

Mr. Ouzts, a native of South Carolina, draws on growing up in the South and centers his act on family, current events, and “the things he notices while walking down the street.” He first hit local stages in 2001 and has since then expanded his range nationwide.

While Mr. Vecsey, too, is a regular on the comedy circuit, he also writes, acts, and hosts “The Call Back Podcast,” which features discussions with successful entertainers about the craft and business of comedy. Last year he was a writer for “The Do-Over,” a Happy Madison film starring Adam Sandler and David Spade, due for release this summer.

Considering the comedic talent on view in “The Unmovers,” the Bay Street audience can expect a laugh-filled evening for the ticket price of $25.

Fans and friends have been arriving on the South Fork since Friday for “Inda Eaton: Original Music Adventures,” a concert in three acts happening at the Bay Street Theater in Sag Harbor on Saturday at 8 p.m. 

Ms. Eaton, a native of Wyoming who has recorded eight independent albums and performed around the world, is a regular in South Fork venues and toured extensively behind her last release, the acclaimed “Go West.” Saturday’s concert will feature the far-flung musicians who comprise the Springs resident’s band along with Eve Nelson, a Los Angeles-based composer, producer, and musician who formerly lived in Amagansett and served as producer of “Go West.” 

Arlethia and Rose Lawler, who perform with MamaLee Rose and Friends; Heather Stewart and Leah Finkelstein, Los Angeles-based artists, and a special guest or two will complete what Ms. Eaton called an “eight-ring circus of joy.”

“Any bit of music is a story,” the artist said last week. “I don’t think we’re coming up with a new emotion per se, or uncovering new philosophical work, or that wanderlust is a new emotion, but it’s the era we’re in and the eclectic bunch of people who make this sound. This is a unique group that has connected, for the most part, on the East End.” 

Initially, she said, the concert was divided into three acts for the benefit of the lighting director. “Then we got to thinking, every song in the world probably falls into three acts. We’re going to tell our version of that truth.”  

“I never promise comedy,” Ms. Eaton said. “Just because life is what it is, it becomes that way. It’s the same thing I feel when I watch a Christopher Guest movie — reality is funnier than anything you could conjure.” 

Ms. Nelson, whose career brought her to California several years ago, said that Ms. Eaton “keeps it real for me. I’m in an industry where I’m constantly doing this and that for some TV show or artist, and it’s all wonderful, but for some reason when I’m playing with Inda, it gets me real.” Ms. Nelson, who arrived on the South Fork on Tuesday, added that “Inda’s music was a huge catalyst in getting me out to play live again.” 

“Eve is not just a great player but a great friend, a brilliant production mind,” Ms. Eaton said. “We had so much fun making ‘Go West,’ ” which was largely recorded at MonkMusic Studios in East Hampton. “We mixed it ‘old school,’ in live-in, two two-week blocks at Eve’s studio in L.A. It’s my favorite way to work — the barbecue, the no-boundaries-between-today-and-tomorrow, fully immersed in the project.” 

Saturday’s concert, she said, will evoke that experience, while also offering new music for a forthcoming release. “And our entire neighborhood of Barnes Landing is putting the band up,” she said. “People are giddy as if we are hosting somebody’s wedding. That’s what I live for.” 

Tickets for “Inda Eaton: Original Music Adventures” cost $25 in advance, $30 on Saturday, and are available at the Bay Street box office or baystreet.org.

The Watermill Center will present an open rehearsal on Sunday from 3 to 5 p.m. of a performance by Lisa Ross, a visual artist, Perhat Khaliq, a renowned Uyghur musician from China, Mukaddas Mijit, a Uyghur traditional dancer, and Indah Walsh, a contemporary Indonesian-American choreographer.

Presented in dialogue with “Rise,” a video Ms. Ross made after traveling in China, the artists will explore the interaction between traditional and contemporary forms of movement and sound as well as internal and external control of one’s body. The program is free, but advance reservations are required.

The center has also announced that a performance by Robert Wilson, its founder and artistic director, of Samuel Beckett’s “Krapp’s Last Tape” will be given at the Alexander Kasser Theater at Montclair State University from today through Sunday. Tickets can be purchased online at peakperfs.org.

There is a moment early on in “This Wide Night,” a 2008 play by Chloe Moss, that speaks to the intensity of the performances in the current production at East Hampton’s Guild Hall: Lorraine, a woman recently released from prison, is asked by Marie, another former inmate with whom she has been temporarily staying, to leave her flat. Lorraine desperately needs Marie — they both need each other, in fact, though Marie can’t yet see this. So Marie, discreetly, asks her to go, and Lorraine, reluctantly, gets the hint.

Seating for the production of “This Wide Night” is unusual; the audience sits in roughly 70 chairs placed directly on the stage. You can literally reach out and touch the actors. I chose an odd seat, on the far left wing of the stage, but from this vantage I could see Lorraine’s exit. She’s mostly hiding her pain as she leaves, but once she’s out the door there is a final stab of terrible sorrow etched on her face. What was fascinating was that this moment was invisible to the audience, except, by accident, to me. Lorraine is into the hall and gone, the scene is over, and yet the actress is still going, still working, or too lost in the moment to care whether we can see her or not.

Chloe Dirksen, who plays Lorraine, is also the producer along with Jessica Mortellaro, who plays Marie. You may wonder why, in off-season East Hampton, anyone would submit herself to the difficult task of putting on a play about two female ex-cons. The answer turns out to be an easy one: “This Wide Night” is a tour de force for actresses. The play had a run in New York in 2010, garnering rave reviews for Edie Falco and Alison Pill.  I did not see that production, but I will say that this current run is as about as good as regional theater acting gets. 

The setting is a tiny flat in a sketchy part of London, where Marie (an excellent Ms. Mortellaro) is in the midst of her new life as an ex-convict. Jon Raynor’s set design is purposely decrepit; there’s not much more to the room than an old chair, a futon, and a beat-up television with no working sound. Marie has traded one cell for another. Her down time consists of eating junk food, drinking beer, and staring at the soundless television images. At night she works, though at a different job than we are initially led to believe. Her loneliness seems self-imposed, as if she’s not quite ready for the complications of friendship or love. And yet Lorraine, her old cellmate, has come knocking.

 Ms. Mortellaro does a terrific job with Marie, portraying her with a kind of rough-hewn grace that requires a tricky balance. Play Marie too tough and she has no chance to open up later on; play her too sympathetic and her early resistance to Lorraine makes no sense. Ms. Mortellaro finds the middle ground between distance and empathy, while nailing the foul-mouthed humor and poetry of Ms. Moss’s script.

But there’s no doubting that Ms. Dirksen has the plum role. Unlike Marie, Lorraine is more overt about her need for companionship, and this gives the actress the lion’s share of the play’s pathos. From the second she arrives at Marie’s flat, it’s clear that Lorraine has no idea how to function in free society — she may as well have arrived from Pluto — and Ms. Dirksen perfectly captures her barely concealed terror. After 12 years in lock-up, life with a cellmate is all that Lorraine knows, and the performance allows us to see how desperate she is to recreate that scenario in Marie’s Lilliputian flat.

Later there is the revelation that Lorraine is a mother, hoping to reconnect with her son. When this connection does not go as planned, the play reaches its climax. Ms. Dirksen wrests every drop of emotion from the scene, though without a hint of mawkishness or sentimentality. And it’s a tribute to both performers that many in the audience appeared on the brink of losing their composure. (All right, that was me.)

Generally, Felix Bird’s music is interjected with tasteful discretion, though there is a moment or two when you wonder if you’re being nudged to feel something you are already feeling. Otherwise there’s no arguing with Joe Minutillo’s direction, which seems nuanced in every detail, including the actresses’ fine-tuned English accents. 

After the opening night performance, for example, I was discussing the show at a bar across the street with a woman who said Ms. Dirksen was her neighbor. It became clear that I was assuming the actress was British.    

“No, she lives here,” the woman admonished. “She’s Canadian.”

 “This Wide Night” will run at Guild Hall through Saturday. It is not, of course, an easy sell. It is a play of difficult emotions, and a fair amount of pain; your wintry Hamptons complacency may be momentarily shaken. The payoff, however — emotional catharsis and powerful performances — will be well worth it.

An earlier version of this review credited only Chloe Dirksen as the producer of the play. It has been modified to reflect that Jessica Mortellaro is her co-producer.