The Watermill Center will offer both an open rehearsal and a tour of the grounds, building, art collection, and study library on Saturday afternoon. The tour will take place from 1 to 2:30; the rehearsal, by Kenneth Collins and Temporary Distortion, will follow from 3 to 5.

Formed in 2002, Temporary Distortion explores the tensions and overlaps between visual art, theater, film, and music. Led by Mr. Collins, a Watermill resident artist, the group has recently focused on long-duration, installation-based performances featuring live music. The audience is free to come and go during Saturday’s rehearsal, and an interactive discussion will follow the performance.

Both the tour and rehearsal are free, but advance registration, which can be made on the center’s website, is required.

Bay Street Theater in Sag Harbor has announced that Steven Todrys has been elected chairman of its board of trustees. 

Mr. Todrys’s relationship to Bay Street began more than 15 years ago as a subscriber and patron. He eventually joined the board and most recently served as head of the theater’s finance and audit committee. A theater enthusiast who lives in Manhattan and Bridgehampton, he is a senior advisor at Evercore Partners, an investment bank, and a former partner at the law firm Simpson Thacher & Bartlett.

This weekend the theater will present two concerts. “East End Ladies of Rock,” set for tomorrow night at 8, will feature Mama Lee, Dawnette, Lilly-Anne Merat, and Jewlee. Cynthia Daniels, a Grammy Award-winning producer who opened the East End’s first recording studio in 2011, will host. Tickets are $20.

The third Fireside Session with Nancy Atlas will happen Saturday evening at 8. Ms. Atlas’s guest performer will be Clark Gayton, a musician who has played with the rockers Bruce Springsteen, Elvis Costello, Sting, and Prince, among many others, and with such jazz icons as Lionel Hampton and McCoy Tyner. Tickets, which are going fast, are $25.

Two at Halsey Mckay

The Halsey Mckay Gallery in East Hampton is presenting two solo exhibitions, Ashley Carter’s “A Shot in the Arm” and David B. Smith’s “The Seer,” through March 9. 

Ms. Carter works with rebar, steel, silicone, and other industrial materials to investigate architecture and the human body, and their potentially parasitic relationship. Her sculptures “present themselves as aggressive objects in various stages of decay and painful regeneration,” according to the gallery.

Working in opposition to Google’s Deep Dream algorithm, which teaches computers to interpret images, Mr. Smith programmatically deconstructs images, transforming them into soft tapestries of woven cotton and thread that refuse to be deciphered by human or machine.

Christian Little at Nightingale

“Exhibitionists,” a show of recent work by Christian Little, will open at the Sara Nightingale Gallery in Water Mill on Saturday and remain on view through Feb. 20. A reception will happen Jan. 30 from 5 to 7 p.m.

In this series, Mr. Little examines a voyeur culture preoccupied with sex and drama, with acrylic paintings on wood panels that suggest, rather than explicitly represent, erotic tableaus.

Body parts are entwined with abstract patterns and mundane objects — a mop, a pair of binoculars, a Slinky — and rendered in a variety of painting styles that result in suggestive mash-ups of the representational and the abstract.

Last week’s announcement of the Academy Award nominations for 2015 films included a number with connections to the South Fork.

“Carol,” which was produced in part by Christine Vachon, who heads the Stony Brook Southampton graduate film program, was nominated for adapted screenplay, supporting actress for Rooney Mara, and lead actress for Cate Blanchett. Carter Burwell of Amagansett achieved his first Oscar nomination for best score. Although shut out of best picture and director nominations, it did end up in the costume design and cinematography categories.

“Bridge of Spies,” directed by Steven Spielberg, who has a house in East Hampton, was nominated for best picture, along with “Spotlight,” “Room,” and “Brooklyn,” which were shown as well at the Hamptons International Film Festival. All of those films also received nominations for their screenplays.

“The Big Short,” which contained a brief performance by Melissa Leo as a representative from a ratings agency, is also up for best picture. Ms. Leo is the daughter of Arnold Leo of Springs.

  Other key nominations of HIFF films were Lenny Abrahamson and Tom McCarthy for direction of “Room” and “Spotlight,” respectively. “Anomalisa,” for which Mr. Burwell also wrote the music, was nominated as best animated feature. Brie Larson of “Room” and Saoirse Ronan of “Brooklyn” received best actress nods. Mark Ruffalo and Rachel McAcams were nominated for supporting roles in “Spotlight.” Mark Rylance was also nominated in that category for “Bridge of Spies.”

“Son of Saul” and “Embrace of the Serpent,” both HIFF picks, were nominated for foreign language film, while “Simple Song #3” from “Youth” was nominated for best song. “Body Team,” “Claude Lanzmann: Spectres of the Shoah,” and “Last Day of Freedom” were chosen for documentary short films. “Sanjay’s Super Team” is up for best animated short.

The Academy Awards ceremony will be held on Feb. 28. 

“The All Star Comedy Show” will return to Sag Harbor’s Bay Street Theater tomorrow at 8 p.m. with the guest comedians Kyle Grooms (“Chappelle Show,” “Last Comic Standing”), Oscar Collazos (Comedy Central, XL Sirius Radio), and Brendan Sagalow, a New York City comedy club regular. As he has for the past three years, Joseph Vecsey will host.

In addition to his busy stand-up career, Mr. Vecsey hosts his own podcast, “The Call Back,” in which he discusses the craft and business of comedy with such successful comedians as Chris Rock, Aziz Anzari, Gary Shandling, and many others. He is also a creator of “The Unmovers,” an original web series of spots for Optimum Cable TV about the misadventures of the Three Brothers moving company.

Tickets are $20 in advance, $25 at the door.

Also at Bay Street, Andy Aledort, a senior editor of Guitar World magazine who has been touring for eight years with Dickey Betts of the Allman Brothers, will be the guest artist for Saturday’s Fireside Session with Nancy Atlas. Tickets for the 8 p.m. show are $25.

The Parrish Art Museum in Water Mill will present the regional premiere of “Fieldworks,” a program of seven short documentaries that explore the nature of socially engaged art, tomorrow at 6 p.m.

Among the issues engaged by the films are childhood lead poisoning, health care in under-resourced communities, bioremediation of an underground oil spill in Brooklyn, sex education, homelessness, and working conditions in the coffee industry in Mexico and New York City.

The films will be introduced by Joelle Te Paske, programs and communications manager of A Blade of Grass, the nonprofit art organization that created the 38-minute program. Admission is $10, free for members, students, and children.

For its second production of the season, the Hampton Theatre Company in Quogue has put “Dead Accounts” by Theresa Rebeck on the table — along with an outrageous assortment of foodstuffs. A tale filled with moral dilemmas that will have audiences debating long after they leave, the evening buzzes along quickly and smoothly, sort of like that “very special episode” of a well-loved sitcom, where something serious goes down even in the midst of the laughs.

The play, noted during its Broadway run more for its cast (which included the Tony Award-winning Norbert Leo Butz and Katie Holmes, recently relieved of her Cruise control) than its content, was not particularly well-received and closed early due to poor ticket sales. Knowing this before entering the Quogue Community Hall made a reviewer wonder why a small local theater would choose a piece that isn’t a guaranteed crowd-pleaser, or, to be blunt, a guaranteed money-maker. But the Hampton Theatre Company is no ordinary community theater. Clearly, it has cojones grandes, a fact demonstrated by the opening scene of “Dead Accounts,” in which John Carlin, who gives an inspired performance as Jack, drops the F-bomb more often than three Scorsese films strung together. This is not “Hay Fever,” folks.

“Dead Accounts” tells the tale of Jack Leonard, who left his childhood home in Cincinnati years before for Wall Street wealth and has returned in the dead of night under mysterious circumstances, minus his wife but with a boatload of unexplained cash. The first scene, which features Mr. Carlin and Mary McGloin as Jack’s stay-at-home, care-giving sister, Lorna, crackles with intensity as Jack talks nonstop while working his way through pint after pint of Graeter’s ice cream, a Midwestern staple.

Ms. McGloin gives a strong and heartfelt performance as the sister who has given up her own life to help their mother (played wonderfully by Diana Marbury) look after their ailing dad. In fact, the entire cast — rounded out by Peter Connolly as Phil, Jack’s childhood friend and possible romantic interest for Lorna, and Rebecca Edana, Jack’s blue-blooded, icy wife — turns in strong performances, switching between humor and sadness, happiness and anger, hatred and horniness, with all the ease of a real dysfunctional family.

Some of the funniest moments come whenever Lorna is on an important phone call and her mom launches into a continuous, nonsensical list of questions, directed both at her and whoever is on the line. It seemed everyone in the opening-night audience could relate.

And some of the most poignant moments also come from Ms. McGloin’s character, especially from her astute views of Wall Street and Park Avenue millionaires. “They have so much money they’re exhausted,” she observes.

Mr. Carlin rules the stage as Jack, whose nonstop energy may come from the pills in his pocket or the vast array of Skyline cheese and chili coneys he puts in his belly. His character disdains the over-indulgence of New Yorkers while bringing a dozen pizzas into the kitchen, to the horror of his family.

Many references are made comparing that old-money sensibility to that old-time religion, a staple of the Leonard household, and who uses what to plug the gaping hole in their hearts. For the most part, though, Ms. Rebeck’s script doesn’t plug that hole. It doesn’t offer any new insight, although it poses interesting questions, especially about how Jack became a millionaire on the run from the law and his wife’s family.

Andrew Botsford directs “Dead Accounts” with a sure hand, hitting all the comedy notes and allowing the actors to bloom in their moral monologues. Peter-Tolin Baker’s Buttermilk Blue cabinetry and flowered wallpaper evokes a tired, Midwestern kitchen (although there was a surprising lack of religious motif, considering the staunch Catholicism of its inhabitants), and Sebastian Paczynski’s dappled lighting adds to the hidden subtext while providing the countrified feel of a house in the country.

It is the memories of his roots in a simpler childhood that bring Jack to his own epiphany — sort of. Presumably, Ms. Rebeck received an important phone call of her own while scripting the conclusion of “Dead Accounts,” leaving the final scene up to the imagination. Still, the Quogue production offers all the color and form contained within the divergent branches in a family tree, and by presenting this play has gone out on a limb, proving that creativity has been seeded and continues to grow at the Hampton Theatre Company.

The JDTLab, Guild Hall’s program devoted to presenting work by performing artists from the East End and, occasionally, beyond, will begin its third season on Tuesday evening at 7:30 with a free staged reading of “Extinction,” a new play by Gabe McKinley that explores the evolution of friendships. Subsequent programs will include two new musicals, a one-artist show, three plays, and an immersive deconstruction of the Andromeda myth.

According to Josh Gladstone, the theater’s artistic director, “the program has cast a wide net for artists from the region. We’ve had a really good array of talent and a variety of programming, from choreography to musicals to improv. While we’ve done a number of play readings, there’s a lot of variety within that.”

The theater receives many more proposals than it can accommodate. “It’s an opportunity-based booking — who’s got an exciting pitch, who has a project that would benefit from the lab — basically, who’s the best fit. I try not to do too much of the same thing.”

Mr. Gladstone emphasized that while Guild Hall provides the framework — the theater, rehearsal rooms, promotional and administrative support, an honorarium, housing, and travel, if necessary — “we don’t want to tell people what to do. Whatever happens onstage is up to them. We’re happy to make casting suggestions about local people if asked, but we don’t want to get in there and muck it up. It’s about opening the doors at Guild Hall so artists can come and play. It’s a sandbox.”

“Extinction,” which is directed by Megan Minutillo, who grew up on the East End, is a darkly funny drama about two college friends whose annualouting of male-bonding and debauchery has unexpected consequences that threaten their relationship. Raye Levine, Kelsey Torstveit, Jon Kovach, and Sawyer Spielberg star.

A 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, will be presented on Feb. 2. Personifying Joyce, Mr. Keil reminisces about his 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.

The musicals on the calendar are “Perfect Fifths,” Dan Rider’s story of a man whose dormant emotional life is awakened by a talented cellist, and “Eco the Musical,” a play both dark and humorous about a dystopian future, with music and lyrics by Jenna Mate and book by Bethie Fowler.

Other staged readings are “My Girl,” Judy Spencer’s play about two widows in their 60s, one gay, one straight, who come together as roommates to share an apartment and wind up falling in love; “I Married the Icepick Killer,” a new play by Carol Muske-Dukes about the marriage between an actor and a poet that unfolds after the husband’s death, and “What Would Nora Say?,” in which two friends in their 60s, using Nora Ephron as their role model, assess the events in their lives.

The genre-buster of the season’s programs is “Andromeda,” a dance-theater work-in-progress by Kate Mueth and the Neo-Political Cowgirls, an innovative performance group that explores the female voice. The work engages and critiques the myth of Andromeda, who was saved by Perseus after being chained to a rock as a sacrifice to a sea monster.

The Met: Live in HD will return to Guild Hall with Bizet’s opera “Les Pecheurs de Perles” on Saturday at 1 p.m. Premiered in Paris in 1863, the opera was last performed at the Met in 1916, with Enrico Caruso, Frieda Hempel, and Giuseppe De Luca in the lead roles.

Set in ancient Ceylon, the opera is the story of Leila, a beautiful Hindu priestess, who is pursued by the rival pearl-divers Nadir and Zurga, whose friendship is threatened by their love of the same woman. Their duet “Au fond du temple saint” is said to be one of the best-known songs in Western opera.

The new two-and-a-half-hour production is directed by Penny Woolcock and stars Diana Damrau, Matthew Polenzani, and Mariusz Kwiecien. Tickets are $22, $20 for members, and $15 for students.

The Watermill Center will hold two open rehearsals on Saturday afternoon. Boomerang, a physically nuanced dance and performance group created in 2012 by Matty Davis, Kora Radella, and Adrian Galvin, will show a new work commissioned by Dixon Place on the Lower East Side, where it will premiere in March. The group’s work is based on the idea that the body is a repository for both physical and psychological life, and its performances draw upon the histories of the people with whom they work. The rehearsal will run from 3 to 4 p.m.

An open rehearsal of “Lullaby Movement,” a work by the resident artists Sophia Brous, an interdisciplinary performer from Australia, and the British multi-instrumentalists David Coulter and Leo Abrahams, will take place from 4:30 to 6. The work explores the melodies and multi-layered meanings of lullabies drawn from societies throughout the world.

Both programs are free, but reservations are required.