The Bay Street Theater in Sag Harbor will rock this weekend with “All the Hits: The Beatles and the Rolling Stones,” two tribute concerts set for tomorrow and Saturday at 8 p.m. Tomorrow’s concert will focus on the bands’ early years, 1960 to 1966; Saturday’s will highlight their music from 1967 and after.

The Beatles’ work will be showcased by Dave Giacone (drums), Randall Hudson III (lead guitar), Michael Schiano (rhythm guitar and vocals), Mick Hargreaves (acoustic guitar and vocals), Joe Lauro (bass guitar and vocals), Dawnette Darden (vocals), and Dan Kootz (keyboard and vocals).

The Stones’ music will feature John Sparrow (lead vocals), James Bernard (drums), David Portocarrero (guitar), Jim Nanos (bass), Joe Delia (keyboards), and Mr. Hudson (lead guitar). 

Tickets to each concert are $25.

Sag Harbor’s John Jermain Memorial Library will present “1966: Cinema Breaks Free,” a series of three influential films from that pivotal year, and a related lecture.

The series begins this evening at 7 with a screening of “A Man and a Woman.” Directed by Claude Lelouche and starring Jean-Louis Trintignant and Anouk Aimée, the film is the romantic story of the developing relationship between a widow and widower who meet at their children’s school.

“Blow-Up,” Michelangelo Antonioni’s film about a fashion photographer (David Hemmings) in swinging London who thinks he has unwittingly captured a murder on film, will be shown next Thursday. Mike Nichols’s film of Edward Albee’s play “Who’s Afraid of Virginia Woolf?” is set for Feb. 18. It stars  Richard Burton and Elizabeth Taylor; the subject matter and language were controversial at the time of its release.

Michael Edelson, a film historian, writer, and editor who teaches at Stony Brook University, has organized the series and will give a talk on Feb. 25 about “Who’s Afraid of Virginia Woolf?” and the Motion Picture Academy of America’s 1934 censorship code.

An encore screening of the National Theatre’s London production of “Jane Eyre,” adapted from Charlotte Bronte’s novel, will take place Saturday at 7 p.m. at Guild Hall. Sally Cookson’s production, hailed by The Financial Times as “witty, impassioned, and bold,” was first staged by the Bristol Old Vic last year before moving to the National.

“Jane Eyre” follows the emotions and experiences of its title character, including her growth to adulthood and her love for Mr. Rochester, the Byronic master of Thornfield Hall. The heroine faces life’s obstacles head-on, surviving poverty, injustice, and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Tickets are $18, $16 for members.

Clifford Ross has a busy week ahead. On Saturday at 8 p.m., imagery from the multimedia artist’s abstract video “Harmonium Mountain” will accompany a performance by Julian Rachlin of Beethoven’s violin sonatas 1, 6, 9, and 10 in the Kaufmann Concert Hall at Manhattan’s 92nd Street Y. Tickets are $35 and up, $25 for patrons under 35.

The Brooklyn Rail will hold a reception to celebrate the publication of “Hurricane Waves,” a volume containing all 84 of Mr. Ross’s photographs of storm-tossed waves taken over the years, and “Seen and Imagined: The World of Clifford Ross,” which features 139 of the artist’s images, many in color, with texts by David Anfam, Quentin Bajac, Arthur Danto, Jack Flam, Nicholas Negroponte, and Jock Reynolds.

The reception, happening on Monday at 7 p.m. at the office of The Brooklyn Rail in Brooklyn, will include a conversation with Phong Bui, Orville Schell, Mr. Flam, and Mr. Ross.

Carlos Lama, a D.J., vinyl enthusiast, and audio engineer from Sag Harbor who has been a fixture on the East End music scene since moving here from Texas in 2010, will host the next Artists and Writers Night at Almond restaurant in Bridgehampton, on Tuesday at 7 p.m.

In a departure from previous such evenings, which typically feature one artist, writer, or performer, for the upcoming program Mr. Lama and Almond Zigmund, who oversees the series, sent out a call for submissions for a loosely interpreted open mike night. 

“It’s not as if anybody can show up and get on,” Mr. Lama said during a conversation at Innersleeve Records in Amagansett, where he works when not performing or recording. “We’ve had quite a number of submissions, and we had to have a cutoff. It’s sort of an even mix of reading and music. Not just singer-songwriters, but also some more experimental stuff.”

The evening will open and close with performances by Mr. Lama and Peter Landi, who is a member of the Glazzies. “We’ve played together before,” said Mr. Lama. “We did a Bowie tribute last Saturday at the Talkhouse, which was very well received, and since it’s still pretty fresh, we might be doing some Bowie material.”

Other musicians will include Jameson Ellis, “who, in addition to being an amazing visual artist, is also a pretty badass bass player,” and Colin Mahar, an accomplished singer-songwriter who is also director of Harper’s Books in East Hampton. Several writers will take part, but none had been confirmed as of press time.

“In my mind, in addition to being an open mike, I was romanticizing the idea of having it be a bit more like a variety show, or even a cabaret. I want to make it lively and interesting and fun, and a nice mix of readings and music, both light and heavy.”

Because the performances must be coordinated with a three-course dinner, there will be a three-minute time limit for each act. “In order to have as many people as I want and to have a variety, we’ll have to be strict about the time. We have an envelope, and we have to make it fit.”

The three-course, family style meal, priced at $45, includes a glass of wine or beer, tax, and gratuity. Reservations, which are essential, can be made at the restaurant’s website, the sooner the better, as the programs inevitably sell out.

The graceful, whitish curves of the small ceramic bowls and cups found a gentle illumination while sitting upon a sun-drenched shelf that ran across the windowpanes of the Clay Art Studios of the Hamptons on a recent Thursday afternoon.

Next to the windows and lining the other walls, on tall, unfinished wooden shelves, were even more whitish pieces of bisque, the term for clay pottery works that are waiting to be painted or glazed. The products of advanced students or professionals, these pieces were often larger or more elaborate than the pieces on the window shelf, which were made by the beginner students.

The natural light supplemented what the overhead fixtures provided, producing a bright environment ideal for the work being done by Tom Walter, a professional ceramics artist and teacher, and his class of artists-in-training, who shared musings on life and a couple of packs of Tate’s finest during their weekly lesson in hand-building techniques. 

“I like the fact that you can make anything. You can make something look like leather or metal. You can make any shape, any form,” said Mr. Walter, who studied fine arts at Stony Brook University, and who treks from his home in Selden to teach and manage the Water Mill studio.

Known affectionately around the studio as “the dragon man” for the bowls he creates with elaborate ceramic dragons wrapped around them, Mr. Walter said working in ceramics is therapeutic and relaxing. “You’re focusing on making the piece, and everything else goes away. It’s like a working meditation.”

The creative freedom is just one reason people have been flocking to the studio, which is run by the Clay Art Guild of the Hamptons in a cozy building on Old Mill Road that is owned by the Water Mill Museum. Ceramics is hugely popular right now, according to the guild’s president, Eve Behar. The inclusion of clay arts in the 2015 Whitney Biennial marked a significant step in its latest ascension. Ms. Behar said restaurants now want handmade ceramic wares, and Etsy.com, the online sales hub for handmade goods, is teeming with ceramics both artistic and functional. She said people are returning to the arts to counter some of the negative impacts that technology has had.

“What’s going on is the more automated we got, people were getting away from hands-on activity. Now I think people are craving actual physical contact with real material,” Ms. Behar said.

Fitting for the sunlight that streamed through the windows on the day she showed two guests around the tiny studio, Ms. Behar donned a cheerful, green-striped apron in preparation for a potter’s wheel demonstration. She first showed the technique of “wedging” the clay — that’s the term for kneading it, much like a baker would knead a lump of dough when baking bread — which is a necessary step before the clay can be sculpted by hand or thrown on the potter’s wheel. She rolled it into a ball, then sat down at the wheel and with skilled hands proceeded to transform it into an elegant bowl within a matter of minutes.

“It’s almost daunting how versatile clay is,” said Ms. Behar, who lives in Sag Harbor, and who studied ceramics internationally, including in Florence, Italy. “It could be the most abstract art or the most utilitarian, functional art.”

The Clay Art Guild of the Hamptons was convened in 2001 by a group of eight local artists who needed a place to operate a gas-powered kiln and a gallery to show their work. The Bridgehampton gallery formerly owned by Elaine Benson, which had shown many ceramic artists, had just recently closed. The guild’s Celadon Gallery was born.

But it wasn’t an easy process. Nancy Robbins, one of the founders, said by phone that the guild had to fight the I.R.S. to prove that it was a legitimate arts organization in order to obtain nonprofit status. The group also had to fight the perception that it was merely a group of potters making pots.

“We are committed to creating an environment for the enrichment of clay arts. Ceramic art is really a fine art. It is not a little craft,” Ms. Robbins said. “The more we can exhibit that type of work, the more people will understand it. . . . We worked for 15 years at this, and we’re finally at a point where we feel people understand and appreciate what we do.”

Ms. Behar and Ms. Robbins said the Clay Art Guild of the Hamptons and its studio fill a need for its members. In 2014, the arts blog Hyperallergic.com wrote that “the ceramics world is a varied and robust place, connected through a network of community studios, specialist galleries, small and medium-sized museums, university ceramics departments, niche publications, Instagram feeds, annual conferences, and feuds. . . . Working in clay is expensive, requires a tremendous investment in heavy equipment and supplies, years ofhands-on training and practice, and is very difficult to embark upon in isolation.”

The Clay Art Guild of the Hamptons used to hold workshops in its members’ private studios. But in 2014, Ms. Behar said, the nonprofit’s board decided to redefine its mission, and it drew on donations and community support to restructure the gallery into a working studio. The Clay Art Studios of the Hamptons offers a variety of classes five days per week for beginner through advanced students, along with open studio time for professionals and regular kiln firings for guild members, who now number more than 90 and include full-time and part-time South Fork residents, “snowbirds,” longtime artists, and others.

Now, the guild is at another turning point in its almost 15-year history. A healthy attendance at its classes and events has sustained the guild financially, and it is about to open a new gallery in a storefront in Bridgehampton at 128 Bridgehampton-Sag Harbor Turnpike. The gallery will be called Celadon Gallery and Members Shop and will open on Feb. 14 with a show called “Flame.” A grand opening will be planned sometime during the summer season, Ms. Behar said.

“It’s trending, it’s popular,” she said, “and we want to seize the moment.”

Cuban Prints at Grenning

The Grenning Gallery in Sag Harbor will open a show of works on paper with a reception Saturday from 5:30 to 7 p.m. The exhibition will run through Feb. 27.

Alejandro Sainz Alfonso, whose studio Laura Grenning visited on a recent visit to Cuba, will exhibit for the first time at the gallery. His colorful silkscreens offer a comedic take on his life in Cuba. “We were intrigued to see Cuba from an artistic perspective,” according to Ms. Grenning.

“Like Darwin’s Galapagos Islands, we were able to see a vibrant artistic community that has had very few outside influences since 1959.” Mr. Alfonso’s prints were discovered in a government-sponsored print show.

The exhibition will also include charcoal and conté crayon drawings by Ben Fenske, new watercolors by Christian White, and new drawings by Michael Kotasek.

Marissa Bridge at Markel

Marissa Bridge, whose exhibition “A Bridge in Conversation” is on view at Kathryn Markel Fine Arts in Bridgehampton through Feb. 7, will be at the gallery on Saturday and Sunday from noon to 5 p.m. to talk about her life and work.

Ms. Bridge painted underwater seascapes from the late-1980s until the mid-1990s, when her husband, Allan Bridge, a conceptual artist, was killed by a hit-and-run Jet Skier while diving. After that loss she painted commercially for a decade until, given an orchid, she began “Silent Journey,” a series of paintings of the life cycle of an orchid, which reflected both loss and closure. Her most recent work focuses on Lilith daylilies.

The Parrish Art Museum’s wildly popular PechaKucha programs, each of which features rapid-fire presentations by creative East End residents, has spawned an offspring of sorts. Neoteric Night, which will happen tomorrow at 6, is a networking event focused on, but not limited to, visual artists, writers, dancers, designers, craftsmen, and anybody interested in meeting and perhaps collaborating with other creative people.

The evening will be hosted by Scott Bluedorn, a painter, photographer, furniture maker, and founder of Neoteric Fine Art, which presents work by young and established East End Artists. Participants have been asked to send three to five digital images (jpeg format, maximum one megabyte each), video files (1074 x 768, .mov format, two minutes maximum), or audio files (two minutes maximum) by the end of today to [email protected]. Live performances by individuals with minimal gear will be welcomed. There is no selection process; everybody submitting will be accepted.

The program grew out of discussions between Mr. Bluedorn and Andrea Grover, the museum’s curator of special projects. “She approached me and asked if I would like to host a night. I had mentioned to her previously the idea of an artists’ show-and-tell networking event for artists to share what they’re working on and whom they might like to collaborate with.”

The presentations, which will be limited to two minutes, will be followed by the opportunity for participants to network. The evening is open to the general public.

Mr. Bluedorn is working on a number of different projects. He is doing illustration work for various local businesses, including the Greenport Harbor Brewing Company, and is creating large drawings that will be included in “Radical Seafaring,” a group exhibition that will open at the Parrish in May.

Neoteric Night, which will take place in the museum’s theater, will cost $10; members and students will get in for free. 

The Art of Song’s Parlor Jazz series will return to the Bridgehampton Museum’s archives building on Saturday at 7:30 p.m. with “From Django to Piazzolla,” a performance by Dallas Vietty, an American jazz accordionist who specializes in the Parisian swing-waltz style of Musette and Gypsy jazz.

Musette is the French accordion music that became especially popular in France from the 1920s through the 1950s and is now enjoying a revival. Gypsy jazz, also known as Gypsy swing, is a style of jazz started in the 1930s by the guitarist Django Reinhardt and is closely linked to Musette. Belgian-born but of Romani descent, Reinhardt’s music combined a dark, chromatic Gypsy flavor with the swing articulation of the period. 

Versed in the American jazz tradition as well as those of France and Europe, Mr. Vietty is the bandleader of three groups that are active on the East Coast concert and festival scene, and as a sideman he has performed at important venues in New York City and throughout the Northeast.

The Parlor Jazz concerts are hosted by two mainstays of the East End jazz scene, Jane Hastay, a pianist, and Peter Martin Weiss, a bassist. Tickets are $25.

Puccini’s “Turandot,” the next offering of the Metropolitan Opera’s Live in HD series, will be shown Saturday at 1 p.m. at Guild Hall in East Hampton.

An epic fairy tale set in ancient China, with an unusual score and an innovative use of chorus and orchestra, “Turandot” stars the soprano Nina Stemme in the title role of the princess, and the tenor Marco Berti as Calaf, the prince who tries to win her hand, in a Franco Zeffirelli production.

The John Drew Theater Lab will present a free staged reading of “James Joyce: A Short Night’s Odyssey From No to Yes,” a one-man show written by Joe Beck, performed by Drew Keil, and directed by Elizabeth Falk, on Tuesday at 7:30 p.m.

Personifying Joyce, Mr. Keil reminisces about the writer’s early years, his self-exile from God, Ireland, and family, the books and women in his life, and the vengeful reaction to his work by a prudish public.