Carpentier Featured At Ashawagh

“Images of Accabonac,” an exhibition organized by the Accabonac Protection Committee, will be on view at Ashawagh Hall in Springs on Saturday from 11 a.m. to 8 p.m. and on Sunday from 11 to 4. A reception will be held Saturday from 6 to 8.

The show will feature approximately 50 works and will include a special exhibition of paintings by Ralph Carpentier, the dean of East Hampton landscape painters. The committee selects works that have been inspired by the beauty of the harbor and its Springs surroundings in a broad, rather than literal, sense.

The committee was formed in 1985 by residents concerned about real estate development around the harbor. Today, with 900 members, it continues to address issues relating to the harbor and its watershed. A portion of proceeds from the sale of artworks will benefit the committee.

Land and Seascapes At Drawing Room

The Drawing Room in East Hampton will present “Perspectives on Land, Sea, and Sky,” an exhibition of work by Robert Dash, Jane Freilicher, Fairfield Porter, and Jane Wilson, from tomorrow through Dec. 7.

At a time when Abstract Expressionism all but defined American art, the four painters, friends and integral members of the East End’s community of artists and writers, developed alternative approaches in expanding the realist tradition.

The exhibition, which will highlight the artists’ focus on the region’s land and seascapes, will include Porter’s sketchbook pages of the 1960s and 1970s and paintings, both intimate and large-scale, by Wilson, Freilicher, and Dash.

“Haunting Houses” at Parrish

In a nod toward Halloween, the Parrish Art Museum’s Architectural Sessions series, co-presented with AIA Peconic, will take up the theme of “Haunting Houses” tomorrow at 6 p.m. Maziar Behrooz, an East Hampton architect who hosts the series, will discuss with fellow architects whether specific projects or their practices in general have been haunted in such a way as to find expression in built or unbuilt projects. The disturbing influence need not be confined to architecture but can be

a film, artwork, image, or event. Tickets are $10, free for members and students.

Motherwell Collages

The Andrea Rosen Gallery in Chelsea will present an exhibition of important collage works created by Robert Motherwell from the late 1950s to the late 1970s, the most prolific period of his collage practice, from tomorrow through Dec. 5. A reception will be held tomorrow from 6 to 8 p.m.

Motherwell, who had a studio in East Hampton from 1944 to 1952, considered collage the greatest creative innovation of the 20th century and returned to that medium throughout his career. Using elements such as artists’ materials, travel ephemera, and wine and tobacco labels, he was able to develop a mode of expression more intimate, playful, and autobiographical than his paintings.

Mary Heilmann in Chelsea

“Geometrics: Waves, Roads, Etc.,” an exhibition of new work by Mary Heilmann, will open at 303 Gallery in Chelsea next Thursday and continue through Dec. 19. A reception will happen next Thursday evening from 6 to 8.

The show will include an arrangement of paintings on canvas and handmade paper, glazed ceramics, and a group of her furniture sculptures. Many works were inspired by waves and roads, which move, travel, and interlock. In some, pure geometry is offset by expressive undulations.

The artist’s chairs, an installation of which was on view in the Whitney Museum’s outdoor gallery from May through September, encourage viewers to sit, linger, and engage with the paintings, each other, and themselves.

The Met: Live in HD will present Wagner’s “Tannhauser” in its first return to the Metropolitan Opera stage in more than a decade, on Saturday at noon at Guild Hall. The opera, which premiered in 1845 in Dresden, centers on the struggle between sacred and profane love, and redemption through love.

The production stars Johan Botha, a leading Wagnerian tenor, in the title role of the young knight caught between true love and passion; Eva-Maria Westbroek as Elisabeth, the heroine; Peter Mattei as Wolfram, and Michelle DeYoung as Venus. James Levine conducts. Tickets are $22, $20 for members, $15 for students.

Jack Lenor Larsen, the internationally acclaimed textile designer, collector, and founder of LongHouse Reserve in East Hampton, has two more honors to add to his extensive resume. He received the Director’s Award from the Cooper Hewitt-Smithsonian Design Museum at its 2015 National Design Awards dinner on Oct. 15 in Manhattan, a day after he was awarded the 2015 Star of Design in the category of Lifetime Achievement on behalf of Charles Cohen and the Decoration and Design Building at another ceremony and dinner in New York.

Bay Street Theater in Sag Harbor will throw a Halloween costume ball featuring the HooDoo Loungers and some special friends on Saturday at 8 p.m. Voodoo will be in the air, according to the theater, and the dance floor will be jumping to the music of the nine-piece New Orleans party band.

The radio hosts Ed German, Bonnie Grice, Gary Sapiane, and Walker Vreeland will judge the costumes, with cash prizes of $500, $250, and $100 going to the winners. Tickets to the party are $25.

Tomorrow’s G.E. Smith “Portraits” concert with Roger Waters is sold out.

The Southampton Cultural Center will present “Songs of Spheres and Other Autumnal Wonders,” an evening of cabaret with Karen Oberlin, on Saturday at 7 p.m.

A performer since the age of 6, Ms. Oberlin has over the years focused on cabaret and jazz and deepened her appreciation for the Great American Songbook. She has performed her own shows nationally and abroad and has headlinedin New York City at the Oak Room at the Algonquin, Cafe Carlyle, Birdland, 54 Below, and the Metropolitan Room, among others.

Ringside table seats are $45; general admission is $35.

Written by one of Great Britain’s foremost men of letters, J.B. Priestley, “An Inspector Calls” is the Hampton Theatre Company’s first production of its 31st season, and a good choice it is. Full of profundity and more twists than a Bimini knot, the play is a riveting revival of an all-time classic.

In a nutshell, a mysterious police inspector shows up at the engagement dinner of an upper-class British family to interrogate everyone there, any one of whom, he explains, may have had a part, however small or seemingly insignificant, in the horrific suicide of a local girl.

If the play had ever been adapted into a Frank Capra movie, it might have been titled “It’s a Horrible Life.” If it were written today, it might be called simply “Karma Is a Bitch.”

Arthur and Sybil Birling, an industrialist and his wife in the fictional town of Brumley, are celebrating the engagement of their daughter, Sheila, to Gerald Croft, the son of Arthur’s competitor. The Birlings’ son, Eric, is also in attendance. At this point, the playwright could have easily set up a simple and fluffy drawing room comedy a la Noel Coward — shallow self-absorption clearly abounds in the Birling household.

But Priestley, who wrote “An Inspector Calls” on the tailcoats of World War II, chose to set his work on the night the Titanic sank. Even though the ship is only mentioned in passing as a wonder of the age and “absolutely unsinkable,” it sets the audience up to see that a catastrophe of mammoth proportions, however unrelated, lies ahead.

“Keep your head down and concentrate on your own business . . . every man for himself,” Mr. Birling advises his future son-in-law, moments before the mysterious Inspector Goole shows up like an iceberg to crash the party.

And to throw one more Titanic image into the mix, Sarah Hunnewell, the director, has steamlined — uh, streamlined — the script into a gripping two acts instead of the traditional three somewhat stodgy ones.

The inspector shows each person how the smallest unkindness can have huge repercussions on the life of a single individual. “We don’t live alone. We are members of one body. We are responsible for each other,” he tells them, the polar opposite of Mr. Birling’s previous words.

It would have been a quaint little whodunit to simply end with everyone being involved, sort of a pint-sized “Murder on the Orient Express.” But there’s more, and that is what gives “An Inspector Calls” its power.

“I think the inspector did it,” a woman behind us told her companion loudly in her best Lawn Guyland accent during the second act. My companion whispered, “Not. Getting. It.”

The cast is absolutely exemplary. Daren Kelly blusters like a puffed-up peacock as the head of household, Arthur Birling, a last bastion of male sacrosanctity who toasts to “lower costs and higher prices.” Susan Galardi is completely believable as the matriarchal Sybil, the resentful high-class dowager queen who sticks to her guns until the very end. Amanda Griemsmann plays the engaged Sheila with a lovely sheen beneath the frippery, bringing enough humanism to her role to instill a hope for the “future” generation. As her fiancé, Anthony Famulari is able to subtly express his vulnerability while maintaining his aristocratic air. Spencer Scott, a newcomer to H.T.C., shows an impressive range as the quietly drunken son, Eric.

And as the inspector, Edward Brennan nails it. He is able to chastise the family members for their awful behavior in a few words, while also managing to bring a certain lightness to the role, almost verging on the comedic.

Lighting, costumes, and sets by Sebastian Paczynski, Teresa LeBrun, and Peter-Tolin Baker provide the perfect and sumptuous setting for the goingson, along with a somewhat surreal backdrop that adds to the discomfiture happening center stage.

“An Inspector Calls” has everything — first and foremost, a very strong production right here in Quogue, and second, a story with a fascinating layered and ambiguous meaning. But even more than that, the play itself has a rich history, with its first production not in London but in Leningrad. Priestley’s socialist views were not popular with Winston Churchill and others sitting in the catbird seat, although the party line is that no theaters in the West End were available. When the show did premiere a year later in 1946, the cast included Ralph Richardson, Margaret Leighton, and Alec Guinness. Oh, to have been a member of that first audience!

But the past is done. Or is it? The next best thing is getting to Quogue to see “An Inspector Calls,” at the Hampton Theatre Company through Nov. 8. And to remember the words of George Santayana, a contemporary of Priestley’s, who reminded us that those who cannot remember the past are condemned to repeat it.

When The Star wrote about Pat DeRosa last year as he was approaching his 93rd birthday, the musician said that just one item remained on his bucket list: “to perform with Long Island’s most popular piano player, Billy Joel.”

As Mr. DeRosa’s 94th approaches — Dec. 6 is the big day — he is about to take a step closer to that goal. Tomorrow night, he will perform with Michael DelGuidice and Big Shot at the Paramount Theater in Huntington. Mr. DelGuidice, who has long fronted tribute bands celebrating the music of Mr. Joel, himself achieved a milestone in 2013, becoming a guitarist and background vocalist for the Piano Man.

A fortuitous event set the stage for tomorrow’s show. Last summer, Mr. DeRosa, who lives in Montauk, and members of his musical family including his daughter Patricia DeRosa Padden, a pianist and vocalist, and his son-in-law Michael Padden, a guitarist, attended a concert by Randy Jackson at Gosman’s Dock in Montauk. Mr. Padden engaged Mr. Jackson in a conversation about guitars. As it turned out, the father of a friend of Mr. Jackson’s, who was also a musician, had played with Mr. DeRosa.

The family told Mr. Jackson about Mr. DeRosa’s goal and forwarded a copy of The Star’s write-up to him. Mr. Jackson called Mr. DelGuidice, who asked to speak with Ms. DeRosa Padden, and it was agreed that Mr. DeRosa would perform two songs with Big Shot at the Paramount: Mr. Joel’s “New York State of Mind” and “Just the Way You Are.” Big Shot is more than a tribute to Mr. Joel and his music. In addition to Mr. DelGuidice, members including Tommy Byrnes, John Scarpulla, and Chuck Burgi are present or past members of Mr. Joel’s touring band. Many members also performed in “Movin’ Out,” a Tony Award-winning collaboration between Mr. Joel and the dancer and choreographer Twyla Tharp.

In another bit of synchronicity, tomorrow’s concert is a benefit for veterans, like Mr. DeRosa. While working for the Grumman Aircraft Engineering Corporation in Bethpage, where he built aircraft parts, he was drafted into the Army Air Forces. After basic training, “I joined the concert band and the 20-piece dance band,” he told The Star last year. In 1945, with a deployment to the Pacific Theater looming, the Japanese surrendered and Mr. DeRosa remained stateside.

The setting of tomorrow’s concert is apt for yet another reason: Mr. DeRosa, who was born in Brooklyn, attended the Paramount as a child, his daughter said. The musician also taught in South Huntington schools from 1954 to 1978 while continuing a professional career.

“He’s been working on those tunes, preparing for the show,” Mr. DeRosa’s daughter said last week. “He’s getting ready, and is very excited.” A Facebook page has been created to publicize the concert, and Ms. DeRosa Padden said there was tremendous interest in the concert. Relatives are coming from Washington State, she said.

Mr. Joel, who set a record last summer when he delivered a 65th performance at Madison Square Garden in Manhattan, does not have a concert scheduled tomorrow. Will he make an appearance with members of his band and a saxophonist who yearns to play with him? “I would say we’re halfway there,” Ms. DeRosa Padden said.

The Old Whalers Church in Sag Harbor will present a new concert series on

Sunday, “Bach, Before and Beyond.” Michael Maliakel, a baritone, will sing

music from Bach to Broadway, accompanied by Walter Klauss, the artistic director

of the series.

Mr. Maliakel has been a soloist for the Choral Society of the Hamptons. His repertoire spans opera, art song, and musical theater, and he recently took first place in the National Music Theater Competition and was a finalist in the Philadelphia Orchestra Albert M. Greenfield Competition.

Mr. Klauss has guest-conducted for the Choral Society several times. He served as minister of music of All Souls Unitarian Church in New York City from 1977 to 2014, where he also founded and led the critically acclaimed Musica viva series. 

Tickets for the 3 p.m. concert cost $20 at the door. Other concerts will follow on March 6, featuring the cellist Maureen Hynes, and May 22 with Marion Verbruggen, a recorder player from Amsterdam.

Donald Alfano, a classical pianist, will present “Spanish and Latin American Composers,” a free concert, at the Montauk Library on Sunday at 3:30 p.m. He will perform works by Mateo Albeniz, Issac Albeniz, Enrique Granados, Federico Mompou, Heitor Villa-Lobos, Ernesto Lecuona, Manuel de Falla, and Astor Piazzolla.

The program will include brief commentary between selections. Mr. Alfano, who teaches music history and appreciation, jazz history, and Latin and Caribbean music at Housatonic Community College in Connecticut, has presented programs throughout the United States and Europe.

The Parrish Art Museum’s Salon Series will conclude its fall program with a concert by Inna Faliks tomorrow at 6 p.m. Ms. Faliks, who made her debut with the Chicago Symphony Orchestra at age 15, has performed at Carnegie Hall’s Weill Concert Hall, the Metropolitan Museum of Art, Paris’s Salle Cortot, Moscow’s Tchaikovsky Hall, and at music festivals around the world.

Tomorrow’s program will include works by Clarice Assad, Rodion Konstantinovich Shchedrin, Pyotr Ilyich Tchaikovsky, Maurice Ravel, and Franz Liszt. Tickets are $20, $10 for members.