Center Stage at the Southampton Cultural Center will present 10 performances of “It’s a Wonderful Life: A Live Radio Play” starting tomorrow at 7 p.m. and continuing through Thanksgiving weekend.

Inspired by Frank Capra’s classic holiday film, “It’s a Wonderful Life,” Joe Landry, a Connecticut playwright, scaled it down for budgetary reasons when developing it for the stage. It premiered in 1996 at the Stamford Center for the Arts and is now performed dozens of times a year around the country.

While the play’s dialogue is taken almost verbatim from the film, the story is told entirely by the actors’ vocal skills, sound effects, props, and costumes, placing the audience at a radio station during a live broadcast in the 1940s.

Michael Disher will direct a cast of 15 or more. Other show times are Saturday at 2, 5 ,and 7 p.m., Sunday at 2 and 5, Friday, Nov. 27, at 5 and 7, and Nov. 29 at 2 and 5. Tickets are $20, $10 for students under 21.

Center Stage will also hold open auditions for its next production, Del Shores’s “Sordid Lives,” on Nov. 30 and Dec. 1 at 6 p.m. at the cultural center. Readings will be from the script, and latecomers will be seen at the discretion of the directors, Joan Lyons and Mr. Disher. Performances will happen over three weekends in January.

The Perlman Music Program will return to Shelter Island this weekend for two concerts at the Clark Arts Center. On Saturday at 5 p.m., Ariel Horowitz, a violinist and an alumna of the program, will perform a recital of Brahms, Chausson, Dvorak, Mozart, and Wieniawski, accompanied on piano by John Root.

Ms. Horowitz has won top prizes at the Stulberg and Irving M. Klein International String competitions and is currently studying at the Juilliard School with Itzhak Perlman and Catherine Cho. Tickets are $25, free for those 18 and under, and can be purchased from the program’s website.

Students and alumni of the program will present a free concert of classical masterworks on Sunday at 2:30 p.m. Seating is first come first served; reservations are not required.

An Indonesian textile and handicraft exhibit will be held at Ashawagh Hall in Springs for two weeks starting Saturday from 9 a.m. to 6 p.m. The sale will also be open on Sunday, 10 a.m. to 5 p.m.; on Wednesday, on Friday, Nov. 27, and Nov.28, 9 to 6, and on Nov.29, 11 to 5.

Holiday ArtWalk

This year’s Thanksgiving ArtWalk will take place Saturday afternoon from 1 to 5. Twenty-five galleries from Southampton to Montauk will participate in the self-guided tour, and many will accept donations of food and/or money for local food pantries. 

Special receptions will be held at several galleries. The Sara Nightingale Gallery in Water Mill will serve hot cider and wine from 1 to 5. Ms. Nightingale and Karyn Mannix, guest curator of “Stephanie Brody-Lederman: Out Gallivanting,” will be on hand. The Silas Marder Gallery in Bridgehampton will offer drinks and light fare on Saturday from 4 to 8 p.m. Work by Mica Marder is on view there. Between 5 and 8, also on Saturday, the Tripoli Gallery will hold receptions at its Southampton venue (5 to 7) and across the street at the Southampton Arts Center (6 to 8).

ArtWalk Hamptons was launched in 2011 by Kathy Zeiger, an independent curator. Human Resources of the Hamptons in Southampton, the East Hampton Food Pantry, and the Sag Harbor Community Food Pantry will benefit from donations. More information is available at zeigerarts.com.

New at Vered

“Art Hot and Fast,” an exhibition of paintings and works on paper by Adam Handler, will open Saturday at Vered Gallery in East Hampton and remain on view through Jan. 7. 

According to Janet Lehr, curator and gallery director, “His characters are reduced to the purest shapes and textures reminiscent of uninhibited adolescence. . . . He skillfully builds a pointedly dynamic atmosphere within the canvas utilizing an impressive range of hues.” Mr. Handler cites such modernist masters as Matisse, Gauguin, and Brancusi as inspirations, but also feels his work correlates to more recent sources, among them Jean-Michel Basquiat, Keith Haring, and Willem de Kooning. 

A second show at the gallery, “Modernism,” will feature work by Milton Avery, Charles Demuth, Jules Olitski, Man Ray, and Larry Rivers, among others.

ArtSolar Reception

ArtSolar will hold a reception and exhibition of work by nine East End artists on Saturday from 3 to 6 p.m. at 12 Koala Lane in East Hampton. Participating artists are Rob Calvert, Darlene Charneco, Casey Dalene, Roz Dimon, Barbara Groot, Dennis Leri, Jeff Muhs, German Tagle, and Dan Welden.

 Big Show at Tripoli

The Tripoli Gallery will hold its 11th annual Thanksgiving Collective exhibition at its East Hampton and Southampton locations from tomorrow through Jan. 31. A reception will happen tomorrow from 4 to 6 p.m. in East Hampton. On Saturday receptions will be held from 5 to 7 at the Southampton gallery and across Job’s Lane at the Southampton Art Center from 6 to 8. 

The shows will include work by more than 30 artists, among them Ross Bleckner, Eric Freeman, Saskia Friedrich, Michael Halsband, Mary Heilmann, Mike Kelley, Lola Montes, Keith Sonnier, and Billy Sullivan.

Small Works at Kramoris

The Romany Kramoris Gallery in Sag Harbor is presenting “a snowstorm of local artists” in its “Holiday Invitational” exhibition, on view through Jan. 17. The show features small and affordable art and fine craft gifts by more than 20 artists, including Ted Davies, Barbara Groot, Ruby Jackson, Dinah Maxwell Smith, Gabriele Raacke, and William Skrips. Receptions will be held on Sunday from 2 to 4 p.m. and on Dec. 12, also 2 to 4.

Photography in Cutchogue

Yet another exhibition of small works will be held at the Alex Ferrone Photography Gallery in Cutchogue from Saturday through Feb. 15, with a reception set for Saturday from 6 to 8 p.m. More than 60 limited-edition works by more than 20 regional photographers, among them Carolyn Conrad, Gerry Giliberti, and Bruce Milne, will be on view. 

The gallery will also accept donations of soap, shampoo, conditioner, toothpaste, facial products, and other personal-care products for distribution to families in need through Community Action Southold Town.

Call for Submissions

Peconic Landing, the continuing care retirement community in Greenport, is soliciting proposals for its Art Without Barriers sculpture garden, the East End’s only such venue featuring interactive technology used in art therapy for the hearing or visually impaired. The call is for an original work of sculpture that can touch the lives of those with memory disorders.

Requirements and applications, which must be postmarked by Feb. 1, can be downloaded from the Peconic Landing website.

Edna’s Kin, a Sag Harbor band featuring Dan Koontz on guitar, his brother, Andrew, on fiddle and bass, and their father, Warren, on guitar, will return to the village’s Christ Episcopal Church for its annual fall concert on Sunday at 2 p.m.

The band members perform traditional American acoustic folk and country music as well as original material. Raphael Odell Shapiro, a Sag Harbor native currently active in the neo-folk music scene in New York City, will join the band with a selection of his original songs.

Advance tickets, $20, $10 for students, are on sale at Canio’s Books. Tickets will cost $25 at the door. All proceeds will benefit the church’s pipe organ fund.

The Rising Stars Piano Series will present Hunter Noack, a classical pianist, on Saturday at 7 p.m. at the Southampton Cultural Center. A Pianofest alumnus, he will present his themed program “Boyhood,” which includes works by Debussy, Rachmaninoff, Janacek, and John Cage.

Mr. Noack has collaborated with visual artists, poets, dance and acting companies, and popular music bands, and has performed in major halls in the United States and Europe. His awards include first prizes in many competitions, among them the Liszt International, the Music Teachers International Association, the U.S.C. Concerto, the Pacific Musical Society, and the Moritzburg Festival in Germany. Tickets are $20, free for students under 21.

Tracy Harris in New York City

“Tracy Harris: Testaments,” a pop-up show of work by the East Hampton painter organized by the Gerald Peters Gallery, will be on view at 235 East 59th Street in Manhattan from today through Jan. 8.

Ms. Harris’s encaustic paintings are embedded with images that suggest DNA strands, planetary orbits, magnetic fields, and other forms that mutate and spiral, on surfaces built up with wax and pigment and scraped and incised to reveal the motion beneath the surface.

“Her repertoire of forms suggests possibilities of generation and transformation,” according to the gallery.

Loren Dunlap at Borghi N.Y.C.

Mark Borghi Fine Art will present “Loren Dunlap: The Nature of Things” at its Upper East Side location from next Thursday through Dec. 30. An opening will take place next Thursday from 6 to 8 p.m.

Mr. Dunlap, who lives in Tribeca and Sagaponack, began his career in the 1950s as an abstract painter, but by the mid-1960s he was painting from nature. His subjects — still lifes, flowers, landscapes, people, and food — are marked by a sensual surface beauty, a feeling for textures, the balance of different pictorial spaces, and deft compositions.

A keen sense of humor and understanding of the human condition have added a dimension to his most recent work, which has been assembled for the exhibition by Lana P. Jokel, a filmmaker who lives in Bridgehampton.

Two at Nightingale

The Sara Nightingale Gallery in Water Mill will open concurrent solo exhibitions of work by Cara Enteles and Stephanie Brody-Lederman with a reception on Saturday from 5 to 7 p.m. The shows will run through Dec. 14.

“Mirrors in the Garden” reflects Ms. Enteles’s interest in organic, natural growth and the gardener’s attempt to control it. Long interested in environmental issues, she tends a large organic garden at her home in rural northeastPennsylvania, where the threat of fracking has added urgency to her work. She paints on aluminum panels or Plexiglas, whose industrial surfaces contrast with her lush imagery.

“Out Gallivanting,” organized by Karyn Mannix, includes paintings and mixed-media works by Ms. Brody-Lederman, who is inspired by simple objects or events that find expression in works combining elements of abstraction, representation, and language into intriguing, suggestive compositions. Her exhibition “Dancing With Truffaut” is on view at Guild Hall, where she will talk about her work on Saturday at 11:30 a.m.

Watercolor Classes

Anne Seelbach, a Sag Harbor artist whose work explores the mysteries of nature, will teach private watercolor classes at the Victor and Mabel D’Amico house in Lazy Point, Amagansett, starting Saturday and Sunday from 10 a.m. to noon and continuing the following weekend at the same times.

The cost is $50 per day, and participants must take their own watercolor materials. While payment can be made on the day of each class, advanced registration is strongly advised due to limited studio space. It can be accomplished by calling 267-3172.

The circus came to the Watermill Center on Saturday. There were acrobatics, juggling, and feats of strength and balance, all of which left the audience awestruck. But because Sweden’s Cirkus Cirkor is a contemporary circus with roots in experimental dance, theater, film, music, and visual art, the group’s open rehearsal of a work in progress was a mesmerizing, haunting, and entertaining evening quite unlike the circus most of us grew up with.

Cirkus Cirkor was founded in 1995 by Tilde Bjorfors several years after a life-changing experience in Paris, where she had been working as an actress.

“I was living in the same house as some circus artists,” she recalled. “They were young like me, not at all what I expected, and I followed them through their training process. People were running on the walls, flying through the air, constantly experimenting with crossing the limits of what was possible. It was a different experience from the traditional circus I saw as a child.”

She discovered there were many contemporary circuses, or cirques nouveaux, in France. “They were all very different, but all had materials from the circus. The only thing you knew when you saw a contemporary circus was that there would be some kind of circus and you would be surprised,” which pretty well describes Saturday’s performance.

At 6 p.m., the audience of 70 people followed a violinist from the center’s lobby to a lofty enclosed courtyard traversed by a bridge, where a performer was juggling. From one high corner of the room a woman descended slowly on a rope, knitting her body with it until a male performer “caught” her. She balanced on his upraised hands until, once in the room’s entranceway, he stepped aside as she suspended herself between the walls solely by the extension of her arms.

The audience then followed the performers into the woods surrounding the center, where another female performer stood on a six-foot-high stone raveling and unraveling a ball of thick yarn, to the haunting accompaniment of the violin. She then climbed up a tree branch from which she hung three dolls made of yarn, then slowly withdrew a strand of yarn from her bodice like an umbilical cord.

Outdoor lighting illuminated a male performer balanced on ropes suspended between two trees. He played the violin while walking on one rope, then managed a perfect handstand, and finally entwined his body among several lengthsof rope and proceeded to spin like a gyroscope, his whirlwind motion accompanied by the whine of a leaf blower aimed at the forest floor.

The audience then returned to the main building, where Ms. Bjorfors spoke about the group’s origins and aims and screened a trailer for their performance “Knitting Peace,” from which the outdoor actions drew.

While in France, Ms. Bjorfors discovered a great deal of infrastructure for contemporary circus, including 300 circus schools for children as well as high school and university programs. “People from all different backgrounds entered the circus, while at the same time directors and choreographers, among them Peter Brooke and Mnoushkine, became interested in the circus, how it was communicating internationally, and started to bring circus performers into their work.”

She met more and more Swedish and Scandinavian artists who were training in Paris or working in the circus, and “we started to dream together of bringing it to Sweden. And then, finally, I decided we have been talking so much, now we have to do it.” On her return to Sweden she created a festival and invited all those fellow artists.

“It was a little like, in Sweden, everybody had been longing for it without knowing it existed. We very quickly had big audiences in Stockholm, and we also toured from the beginning. That was also our idea, to come to the people wherever they were. To tour the world was also in the dream from the beginning.”

For its first 10 years the group had no space of its own, which often led to collaborations with other art forms as well as to some unusual venues. “We did ‘Romeo and Juliet’ with the Royal Dramatic Theatre in Stockholm, and for another piece we covered an entire bridge on which we performed and projected video and hung rigging underneath. We also did things in art galleries.”

“For me, circus is constantly challenging borders or boundaries. Traditional circus has very specific forms and tools you interact with. We are using very untraditional objects.” For “Knitting Peace,” the performance space was filled with yarn, cotton waste, ropes, and threads.

“We worked with lots and lots of yarn and getting human beings tangled up with it and doing all sorts of activities like rolling a huge ball of yarn, doing acrobatics on strands of yarn, climbing ropes. We set ourselves an impossible goal: to make peace in the world, to knit peace.”

More recently, Ms. Bjorfors has been working with borders. “We have a massive immigration from Syria, and in Sweden we are not used to it. We haven’t had any wars, in part because we are so far north. But now it’s very close to us. How the European borders are treating the refugees is very dramatic, and I’m quite sure the future will blame us for not doing anything to help.”

“We are celebrating our 20th anniversary this year, 20 years of transcending boundaries. So the next show will celebrate that and what we can get out of that at a time when people are dying at borders.”

Next on the Watermill Center’s agenda is an open rehearsal of a work in progress by the resident artists Manuela Infante and Teatro de Chile, next Thursday from 6 to 7:30 p.m.

One of Chile’s most innovative theater directors and playwrights, Ms. Infante has worked with Teatro de Chile since its inception in 2001. The company is one of Chile’s best known avant-garde theater groups, having performed in festivals and on stages in Latin America, Europe, and the United States. The rehearsal is free, but reservations are required and can be made at the center’s website.

The center has also begun accepting applications for its international summer program. The deadline for applications, which can be submitted via the website, is Jan. 15.

The Springs Community Theater Company will present “The Wizard of Oz” in seven performances at Guild Hall over the next two weekends, starting tomorrow at 7 p.m. The production will feature the music and lyrics created for the original MGM motion picture by Harold Arlen and E.Y. Harburg and the book by John Kane, adapted in 1987 for the Royal Shakespeare Company in London.

The Springs Theater Company was founded in 2005 by Jayne Freedman and Barbara Mattson, both of whom live in that hamlet. “Years ago Barbara and I were involved in the Community Theater Company of East Hampton,” said Ms. Freedman. “Once that ended, we decided we’ve got to bring community theater to East Hampton again.”

The company’s first production was “Once Upon a Mattress,” which was performed at the Springs Presbyterian Church. “Barbara and I paid for the whole thing ourselves so we could get the company going.” Since then the group has become a nonprofit organization, moved its performances to Guild Hall, and produced “South Pacific,” “Grease,” Li’l Abner,” and “Peter Pan.”

Neither the actors, directors, producer, nor choreographer get paid, and company members build the sets, make the costumes, and sell advertising for the playbill. However, Guild Hall, security guards, lighting and sound technicians, and the orchestra members do get paid, as does the company that holds the rights to the play. “We try to raise as much money as we can before we do a show and then hope we break even when the show’s over.”

Many of the kids in the cast are from Springs and East Hampton, while the adults hail from East Hampton, Sag Harbor, Amagansett, Riverhead, Wading River, and other points west. “When someone loves theater and hears about a production they’ve always wanted to be in, they’ll travel.” Auditions for “The Wizard of Oz” were held in June, and rehearsals began in September.

Ms. Freedman is co-director and choreographer of the production. Her sister, Diana Horn, is co-director, and Ms. Mattson is the producer. “Some of us are professionals and some of us aren’t, but we always put on a great production and we really have a lot of fun.”

While the initial idea for the next play comes from Ms. Freedman and Ms. Mattson, other company members become part of the process. “You kind of pick a show you know certain people will come out for, as in, ‘he can play this, she can play that,’ but you never know until the auditions who’s going to come.”

The company draws a mix of adults, families, and kids. “We didn’t do children’s shows at first, but I always wanted to do ‘Peter Pan.’ I also want to get the kids onstage. Aside from the opera, Springs School doesn’t have theater, so I wanted to give those kids a chance to perform.”

Other show times are Saturday at 1 and 7 p.m., Sunday at 1, Friday, Nov. 20, and Nov. 21 at 7, and Nov. 22 at 1. Tickets are $25, $15 for children and students 18 and under.

The 2015 release “RandyPOP!” is a live recording that is both a summation of a half-century-and-counting professional career and a birthday present to the artist who was an integral component to the selections within. Arrangements of songs by James Brown, Bruce Springsteen, Paul Simon, Donald Fagen, Todd Rundgren, and others, delivered by a first-rate ensemble, exemplify the jazz-rock fusion that developed in the fertile musical ground of the late 1960s and ’70s.

The common denominator is Randy Brecker, a sixtime Grammy Award-winning trumpeter who turns 70 on Nov. 27 and will celebrate the milestone with a gig at the B.B. King Blues Club and Grill in Manhattan. An original member of Blood, Sweat and Tears and a studio musician who has played on a seemingly impossible number and stylistic range of recordings, Mr. Brecker, who lives in East Hampton with his wife, Ada Rovatti, a saxophonist, and their 7-year-old daughter, maintains an active career, recording, performing, and educating music students around the world.

“We love it out here,” Mr. Brecker, seated in his downstairs music studio, said of East Hampton. He bought the house around 1990 and became a full-time resident about five years ago. “I wasn’t working in New York that much, like I used to, and it made sense. I wish I had discovered it earlier in life.”

Not that there would have been much time to enjoy it. The Philadelphia native was born into a musicalfamily and grew up inspired by jazz musicians including the trumpeter Clifford Brown and the drummer Max Roach. “My father was a semiprofessional and very good pianist, songwriter, and singer,” Mr. Brecker said. “He loved trumpet players, loved Miles Davis. But the main influence back then in Philly was the great Clifford Brown.”

His family, which included Mr. Brecker’s late brother, Michael Brecker, a saxophonist, lived one block outside the city limits. “The Philadelphia music schools had a pretty darn good music program, but the program where we were was not so great: They only had trumpets or clarinets available,” he said. “I took the trumpet.”

Michael Brecker, who was three years younger, chose the clarinet, moving to the alto saxophone after hearing Cannonball Adderly, “and then he fell in love with John Coltrane,” Mr. Brecker said. “We had adjoining bedrooms separated by a bathroom. We liked the echo in the bathroom, and would just play whatever we could think of,” likening their improvised jams to a proto-Ornette Coleman style. “We just grew up together playing.”

“I was always a jazz guy,” Mr. Brecker remembered. “Even at 8 years old, I kind of looked askance at Elvis and that whole phenomenon, like it was inferior music — later, I came to appreciate it. It was all because my dad was pretty opinionated about music. He loved jazz, and particularly trumpet players and bebop.” Chet Baker, Dizzy Gillespie, Shorty Rogers, Freddie Hubbard, Lee Morgan, and Kenny Dorham were also primary influences, he said.

Like other art forms, music was changing in the 1960s as accepted norms were subject to experimentation and new outlooks — the rock ’n’ roll guitarist Jimi Hendrix influenced even jazz giants like Davis, for example. Mr. Brecker moved to New York, and in 1967 performed on the debut album of the innovative jazz-rock band Blood, Sweat and Tears before leaving to join the Horace Silver Quintet. His first solo album, which featured his 19-year-old brother on tenor saxophone, came in 1968.

With his brother, Mr. Brecker formed the influential fusion group Dreams, which would later include, at his invitation, a 17-year-old bassist named Will Lee, known for his long stint on David Letterman’s latenight television show. He was also a founding member of the Eleventh House, a pioneering fusion group led by the guitarist Larry Coryell.

In 1975, the Brecker Brothers Band was formed, releasing six albums in as many years. (A rare live recording, made in 1976 at New York’s Bottom Line cabaret, is available on compact disc at bottomlinearchive.com and via download at Apple’s iTunes store.)

At the same time, Mr. Brecker was amassing a discography that few have equaled. “I look at it and I can’t believe we were doing all that,” he said of sessions for artists as diverse as James Taylor and James Brown, Bruce Springsteen and Judy Collins. “But that was a sign of the times. In the late ’60s when I came to New York, I was very lucky to catch the tail end of what you might call the traditional New York studiosystem, where guys like Clark Terry, Snooky Young, Ernie Royal, Phil Woods, Mel Lewis, Richard Davis, and Thad Jones were all active, and they were nice enough to invite me in and use me on some sessions. We worked our way into the studio scene. You had to wear a suit and tie to the session; it was very proper. It was an exciting time.”

“And then,” he continued, “I was, maybe, partially responsible for it kind of morphing over, because I also had a foot in so-called jazz-rock and had grown up with a lot of that stuff from Philly.” With his brother and the saxophonist David Sanborn, whom he had met at a music clinic at age 15, “we were a product of that generation, when it was hip to show up to sessions in jeans and everybody had long hair. Some of the older guys wanted to be part of it, too, and let their hair grow. Slowly but surely, the studio scene also moved toward rock ’n’ roll and pop music as the two idioms kind of melted together. It was interesting, seeing that transition.”

On the South Fork, those attending the weekly jam sessions at Bay Burger in Sag Harbor may be fortunate to find Mr. Brecker performing there. In September, he performed during the Sag Harbor American Music Festival, as he does every year. The Nov. 27 gig at B.B. King’s — a tribute to Hendrix, with whom he shares a birthday — will reunite Mr. Brecker with Mr. Coryell and other original members of the Eleventh House.

Sixty-two years after selecting the trumpet from his school’s limited choices, “I’m still trying to figure it out,” Mr. Brecker said. It may sound like false modesty, but the setting — his studio, outfitted with a piano, a computer flanked by speakers and other recording equipment, hundreds of compact discs, and a microphone mounted at trumpet height — demonstrated an enduring commitment to his craft. “Trumpet is a challenging instrument,” he said. “I spend two or three hours playing here after my wife and our 7year-old go to bed. You have to put in daily work. It’s a very physical instrument, so you’ve got to keep at it or you sink fast.”

Is he still improving? “Yeah, I think I am, though there are days when it just doesn’t feel right. But throughout the years, I think I’ve seen some improvement.”