“The Sea Is All I Know,” a 29-minute film directed by Jordan Bayne and starring the Oscar winner Melissa Leo, has signed an international distribution deal with IndieFlix and is available for viewing on indieflix.com and Amazon Fire TV.

The award-winning film, which also stars Peter Gerety and Kelly Hutchinson, concerns an estranged couple who come together to aid their dying daughter. Filmed on the South Fork over a four-day period in June 2010, the production consulted with Arnold Leo, the actress’s father, a writer and bayman who lives in Springs, and includes a performance by Brad Loewen, another Springs fisherman, whose pound traps are part of the film.

The flowers on the witch hazels opened within a few days of the temperature rising above freezing. One large clump of crocuses that had begun flowering in January before the blizzard resumed blooming as if six weeks of bitter cold and continuous snow had never happened. As the snow recedes the buds of the early crocuses and snowdrops are pushing out and need only a little sunshine to open.

The abnormal cold and thick snowpack of late February and early March were worse for man and beast than for our gardens and landscapes. Spring flowering will probably be extravagant and lush, weather cooperating, as the early bloomers play catch-up and the longer days and higher temperatures work their magic on later-flowering plants.

The snow cover insulated and protected root systems, plants, and bulbs. The worst of the winter damage will be primarily from branches broken by the heavy snowpack and from de-icing salts. Although most of the shrubs in my garden are still under snow, broken and split branches are emerging as the snow recedes. Good arborists can wire and screw branches together so they will heal; contact your arborist if there are branches you want to save. If not, this is a good time to prune, while plants are still dormant.

Evergreens are more prone to winter damage from desiccating winds than deciduous trees and shrubs. Mina Vescera, nursery and landscape specialist at Cornell Cooperative Extension in Riverhead, strongly advises waiting until June to see if plants recover before removing them or cutting out the damaged parts. Some damage may not become evident until then, too.

Leyland cypress, widely planted for privacy screening, is especially problematic and may show winter burn. While garden centers, nurserymen, and landscapers may not be happy, Ms. Vescera recommends spring planting for conifers and evergreens, to give them time to settle in before winter.

Broadleaf evergreens can take a beating from winter winds, too. The leaves of some rhododendrons, cherry laurels, and mahonias are prone to desiccation. Let nature take its course and new leaves will grow. Do not be in a rush to cut the bushes back. My motto is, when in doubt, wait. (Except when a plant begins to make you nuts, like that skimmia I see in the back with its top covered with tawny, dead leaves. They will definitely be pruned out on my first inspection after the snow melts.)

Large-leaf hydrangeas will likely take a hit for the second consecutive year. Last April, a sudden drop in temperature killed the buds on our iconic mophead hydrangeas. Marginally hardy, bushes went into winter in vulnerable condition. It will be awhile before we can see whether the buds and branches made it, but temperature fluctuations over the next month can also do serious damage.

This might be an opportunity to rethink hydrangeas. Mountain hydrangeas, H. serrata, are hardier and smaller than H. macrophylla, the traditional mopheads and lacecaps. Two mountain cultivars, Blue Billow and Blue Bird, are especially reliable and showy. Blue Bird begins to flower in mid-June most years, and as the season progresses the blue turns to ruby, as do the leaves.

If you can use white mopheads, the native arborescens cultivars, Annabelle and Incrediball, are good selections. They take more sun than the macrophyllas, and are pruned back to the ground, flowering on new wood and eliminating the problem of late frosts. The paniculatas, commonly referred to as PeeGees, are also hardy and sun-loving. There’s been a rash of new cultivars, of which Limelight and Pinky Winky are becoming popular.

Spreading salt on roads, driveways, and walkways was a necessity this winter as the ice grew thicker and thicker. Usually, normal rainfall removes the residue after the thaw arrives, and last Saturday’s rain was bountiful. However, a lot of snow remained along the roadsides. Depending on the weather after the snow melts, raking, removing any leftover salt, and flushing the grass and plantings along the road may be a good idea. This tip holds true for street trees as well.

Robin Simmen, Cornell Extension community horticulture specialist, recommends removing and replacing mulch from plantings near the road. Instead of putting the old material in this year’s compost pile, she suggests keeping it separate while salt residues leach out.

Boxwood, unfortunately, is not salt-tolerant and can be affected by salt spray as well as salt in the soil. You can always have the soil tested for pH and soluble salt levels at Cornell to determine whether or not flushing is necessary. If I had boxwood near the road, I would probably be conservative and just go ahead changing the mulch, spraying the leaves thoroughly, and flushing the soil with a hose, not the irrigation system. And I’d do it on a sunny day. Boxwood is susceptible to fungal diseases and it would be better for the moisture to dry off before night.

Snow cover is also problematic for grass. As the snow melts and temperatures drop at night, the moisture has turned to ice just above the grass. Tamson Yeh, the turf and pest management specialist at Cornell, points out that grass can begin to respire and be damaged under the warmth of ice insulation. Before the grass breaks dormancy she recommends trying to help it dry out as early as possible. Break up the ice, remove the snow and ice, and either mow or lightly rake the grass.

When I spoke with her a week ago, she said conditions had already been right for snow mold and red thread, two fungal diseases, hence the need to dry out the grass crowns. We’ll probably notice them in the next week or two. The affected grass will be unattractive and will take awhile to grow out, but it will.

We were actually lucky this winter. The snow was mostly light powder, so breakage was under the snowpack. Now we need to keep our fingers crossed that the snow continues to melt and the soil dries out, saving the crowns of perennials and grasses. And to hope there aren’t dangerous fluctuations in temperature over the next month that can damage plants that have begun to break dormancy and put out new soft growth.

Two at Drawing Room

The Drawing Room in East Hampton will reopen Saturday with concurrent solo exhibitions of paintings by Vincent Longo and sculpture by Elaine Grove. The show will run through April 27.

Mr. Longo, who lives in Amagansett, explores the energy and symmetry of the grid in his paintings, creating improvisational yet structured abstractions. He has written, “The forms and constructs I use are necessarily deliberate, regulated rather than predetermined, but I work with them relatively freely. Images and ideas are worked out rather than thought out.”

A Springs resident, Ms. Grove has for the past 20 years concentrated on welded steel sculpture. In her words, “I work in the classic constructivist tradition, with roots in the work of Gonzales, Picasso, Smith, and Caro.” Her assemblages also include found objects, chosen for their forms rather than their purposes.

Halsey Mckay On and Off-Site

Halsey Mckay Gallery in East Hampton has two exhibitions opening this weekend, one at the gallery’s Newtown Lane location and a second at the former home and studio of Elaine de Kooning, at 55 Alewive Brook Road in East Hampton’s Northwest Woods.

“Day Moon,” which consists of a group exhibition downstairs and a solo show upstairs, will open Saturday with a reception from 6 to 8 p.m. and run through April 4. Jodie Vicenta Jacobson, an artist from New York, curated the group exhibition, which will include video, sound, dance-film, painting, photography, sculpture, and collage by 19 artists. Her own work will reside upstairs.

“Year,” an installation by Chris Duncan, who lives and works in Oakland, Calif., will open Sunday at the de Kooning house with a reception and brunch from noon to 4 p.m. and remain on view through April 11. He will show two replicas of the studio’s large-scale windows, one of which he placed on a Brooklyn roof, the other in Oakland. Both were covered in fabric, which, when exposed to sunlight, created images of the windows on the material.

Ceramic V8 Engines

Bonnie Rychlak, an artist and curator who lives in New York City and Springs, has organized “Machina,” an exhibition of work by David Packer that is now on view at Art Helix in Brooklyn through April 12.

Mr. Packer, who has a studio in Long Island City, is a sculptor whose work deals with the relationship between man and nature, how one affects the other, and how they interact in shared space.

The show will include “The Last of the V8s,” an installation of cast-ceramic replicas of the iconic machine, painted in red and hung from the ceiling. In Ms. Rychlak’s words, “The fast and beefy V8 machine is a symbol of accelerated power, but today is directly associated with Detroit and the capitalist demise of a once powerful city.”

Denise Gale Online

“Raw Paint,” an exhibition of recent work by Denise Gale, a Springs painter, is on view through April 12 at Galerie Cerulean, an online gallery that can be found at abartonline.com/galerie_ceru­lean.html. In Ms. Gale’s highly gestural works, large slabs of color and quickly rendered lines collide on dense, thickly layered surfaces.

Meet the Artists

GeekHampton of Sag Harbor has launched Meet the Artist, a new series of exhibitions presenting local artists who use technology in their work. The opening show, “Carnet Intime,” features the digital artwork of Camille Perrottet and will run through March 28. A reception will take place tomorrow from 5:30 to 7:30 p.m.

The exhibition includes images that make up a visual diary of her life in East Hampton, New York City, and Paris in 2014. Rather than writing her thoughts, she used an iPad and several apps to communicate her experiences visually. Ms. Perrottet works in a wide range of mediums and has exhibited extensively in France, New York City, and on the East End.

The Parrish Art Museum in Water Mill is launching a new exhibition series, Parrish Perspectives, which will focus on ways of thinking about art, artists, and the creative process. The first three shows, on view from Sunday through April 26, will feature work by Robert Dash, Jules Feiffer, and Joe Zucker.

“Robert Dash: Theme and Variations” will present 11 paintings and 8 works on paper that explore a single image. The paintings and drawings were inspired by his 1972 lithograph of Sagg Main Street, a short stroll from Madoo, his home in Sagaponack for nearly 50 years.

“Jules Feiffer: Kill My Mother” will include 147 original drawings for his recently published graphic novel of the same name. Mr. Feiffer has also created a new series of drawings for the Parrish that provide evidence of a shift in style from the sketchy line drawings with which he is identified to a more cinematic style.

Nine drawings by Joe Zucker recently donated to the museum form the core of “Joe Zucker: The Life and Times of an Orb Weaver,” which will also display paintings, prints, and additional drawings, including works inspired by the artist’s extended consideration of the spider.

The museum will offer “Still-Life Painting: Spring Flowers,” a three-session workshop with Barbara Thomas, on consecutive Fridays from 4 to 6:30 p.m. starting tomorrow. Students will study the botanical construction of various flowers and plant material and then draw and paint from them using gouache or watercolor on paper. The cost is $185, $150 for members, and advance registration is required.

Getting back to Mr. Feiffer, his work will not only be on the Parrish’s walls, but he will be in its Lichtenstein Theater to discuss “Kill My Mother” with Terrie Sultan, the museum’s director, on Friday, March 20, at 6 p.m. A book signing will follow.

The book is a loving homage to the pulp-inspired films and comic strips of his youth. Mr. Feiffer has created more than 35 books, plays, and screenplays, and he has won the Pulitzer Prize, an Academy Award, multiple Obie Awards, and many more for lifetime achievement.

Tickets are $10, free for members, students, and children, and can be ordered at parrishart.org, as can Mr. Feiffer’s book for an additional $30.    

“Clybourne Park,” Bruce Norris’s Pulitzer Prize and Tony Award-winning play, written as a spinoff of Lorraine Hansberry’s “A Raisin in the Sun,” will open at the Quogue Community Hall tonight at 7 and run through March 29.

The two acts of “Clybourne Park” are two separate plays set 50 years apart. Act one takes place in 1959 in a middle-class house in a predominantly white neighborhood in Chicago. The second act is set in the present day, as the now mostly African-American neighborhood struggles to resist gentrification. The house in Clybourne Park is the same one the Younger family was set to move into at the end of “A Raisin in the Sun.”

The HTC production will star Matt Conlon, Ben Schnickel, Rebecca Edana, Joe Pallister, Juanita Frederick, Shonn McCloud, and Anette Michelle Sanders. Sarah Hunnewell will direct.

Performances will take place Thursdays and Fridays at 7 p.m., Saturdays at 8, and Sundays at 2:30. Tickets are $25, $10 for students under 21, and $23 for senior citizens, except on Saturdays.

The second annual Robert Dash Garden Design Lecture will take place at a private club in New York City on Monday at 6 p.m. Peter Wirtz, a Belgium-based landscape architect and C.E.O. of Wirtz International, will speak about the importance of horticultural knowledge in garden design.

Mr. Wirtz’s company, founded by Jacques Wirtz in 1948, has been in the forefront of garden design for almost six decades, creating public, private, and corporate gardens throughout Europe, the United States, Israel, and Japan.

A cocktail reception will follow the talk. Tickets are priced at $150, $125 for members, and can be purchased through madoo.org or by telephoning 537-8200.

Long Island Grown II: Food and Beverage Artisans at Work, the Peconic Land Trust’s spring lecture series, will continue on Sunday at 2 p.m. at Bridge Gardens in Bridgehampton with “The Appetizer,” a discussion featuring three of the East End’s producers.

The participants will be Brendan Davison, owner and operator of Good Water Farms, an organic microgreen farm in East Hampton; Carissa Waechter, the owner of Carissa’s Breads and co-founder of the Amagansett Food Institute, and Jeri Woodhouse, founder of A Taste of the North Fork.

Laura Donnelly, food writer for The East Hampton Star, will moderate. Tickets are $25, $20 for members, and refreshments made from the panelists’ ingredients will be served after the talk.

One of the all-time longest-running Broadway musicals, “A Chorus Line,” opened at the Center Stage in Southampton last week, and proved yet again that it is one singular sensation.

With music by Marvin Hamlisch and lyrics by Ed Kleban, featuring songs like “Dance 10, Looks 3,” “What I Did for Love,” and “One,” plus a series of beautiful dance numbers, “A Chorus Line” would be good enough just with that to merit an audience’s attention. But it is the book, by James Kirkwood and Nick Dante, that adds the extra something special that netted the original production nine Tony Awards and the 1976 Pulitzer Prize for Drama.

The story follows 17 dancers auditioning to be, well, a chorus line. Background dancers. Set dressing. Some of them are just breaking into the biz, but the majority are seasoned gypsies, a little long in the tooth, and desperate for work. As Zach, the director, gets the hoofers to open up, one by one, about their lives through both words and song, the audience becomes more invested in the performers.

Which of them will snag the eight spots available in Zach’s unnamed show, dancing behind an unnamed star? Will it be Bobby, with a story for every situation, Val, an apotheosis of plastic surgery, the mysterious Paul, or Cassie, whose history with Zach goes beyond the footlights?

There are many notable nods to the original production, which is hard to maintain on an empty set with a mirrored background and costumes that are basic Danskin and Capezio. But still, there is Cassie in red, a flash of yellow, Morales’s sneakers, Sheila in nude colors. And, of course, Michael Bennett’s original dance numbers, brought to life by the director Michael Disher.

The space at the usually cozy theater has been ripped wide open, or at least it feels that way, with the mirrored background onstage, the new risers in the theater itself, and the disappearance of a wall that used to separate the theater from the lobby. It feels now more like a workshop performance space, and indeed, that is what it has become for this show.

The production features some faces familiar to East End stages and also some notable first-timers, including several still in high school, who gave outstanding performances. It seems almost sacrilegious to pick out individual performers in an ensemble piece like this, which during workshop performances at Joe Papp’s Public Theater would pick a different eight dancers at the end of each performance, adding an extra element of actual nervousness and surprise for the actors onstage and returning audience members. Who will get it this time?

Still, mention must be made of several outstanding performances. Isabel Alvarez fills some pretty big sneakers playing the role made world-famous by Priscilla Lopez, belting out the iconic “What I Did for Love,” played even today in elevators and supermarkets around the country. Shannon DuPuis portrays the role of Cassie, which garnered a Tony for Donna Mc­Kechnie, with realism and drive. Christine Lisette Martinez wows as the foul-mouthed Val, and Edna Perez Winston is completely believable as the wisecracking Sheila.

Denis Hartnett and Paul Hartman are 16 and 17 years old, and are terrific in important roles. But special mention must be made of Adam Fronc, who plays Paul, and gives a performance of such depth, feeling, poignancy, and professionalism that it is a pity there are only a handful of performances left to see.

To add to the theater-vérité, Mr. Disher plays Zach, the director, who is trying under great duress to put together the chorus of his latest show. This is Mr. Disher’s third time around with “A Chorus Line,” which, as he notes in the program, “is an addiction. Dancers and performers love the show for it is OUR show.”

Also, a shout-out goes to the orchestra at Center Stage – Amanda Jones, Karen Hochstedler, David Elliott, and Kyle Sherlock – the real unknowns in the background of this production.

“A Chorus Line” continues to compel dancers and performers. Google it and you’ll find dozens of sites dedicated to Chorus Line trivia, facts, memories by performers and audience members, a handful of treasured original-cast moments, and other monuments to Chorus Line geekdom.

The show is not performed as often as “Grease” or “Bye Bye Birdie,” but it is every bit, if not more, iconic. And what do we have to remember this greatness by? A stupefyingly pukealicious film version by the great Richard Attenborough, for whom this reporter still holds a burning resentment. How can you cut “Sing!” and “Hello 12, Hello 13, Hello Love” from a film version of “A Chorus Line”? Inconceivable, and yet it happened.

But back to the Southampton production. Here were its downsides, all easy fixes and things that did not interfere with the basic enjoyment of the show. The mirrors, so important to the play’s meaning and symbolism, could use a good scrub with Windex. Follow spots need to hit their mark seamlessly. Some lines are muffled and lost without body mikes, especially when Zach is onstage, yelling with Cassie above the din of background singing and dancing. The same with the montage sequence, which features many single lines shouted out in rapid succession. It would take someone who saw the original production maybe a dozen times, someone who wore out the vinyl album and sang the entire score every day on their way to school, to really be able to understand every word.

And there aren’t many of us around anymore.

“A Chorus Line” runs at the Center Stage at the Southampton Cultural Center through March 22.

The Bridgehampton Chamber Music Festival, which has been a zenith of classical music on the East End every summer since it started with a small series of concerts in 1984, has, over the years, found various innovative ways of programming. Now the festival will inaugurate a new venture, called BCMF Spring, with two Sunday concerts on March 22 and April 26.

The first concert of this budding undertaking will feature music of Mozart and Mendelssohn, both of whom were child prodigies. On the March 22 program are Mozart’s Flute Quartet and Piano Quartet in G minor, considered the first piano quartet ever written, selections from Mendelssohn’s “Songs Without Words” for cello and piano, and Mendelssohn’s Piano Trio in D minor.

Mozart and Mendelssohn have an affinity and work beautifully together on a program, said Marya Martin, the festival’s founder and artistic director, because “Mendelssohn admired Mozart so much and you can hear it in the trio’s transparency and clarity.”

Following its well-known mix of established and newer artists, the concert will bring to the stage Ms. Martin as flutist, a Naumburg Competition winner; Gilles Vonsattel as pianist; Cynthia Phelps on violin, and Carter Brey on cello, both principals with the New York Philharmonic and festival veterans, and Sean Lee, a rising violinist who appeared with the festival last summer for the first time.

On April 26, the renowned Miro Quartet will perform Haydn’s Quartet in D minor, nicknamed “The Fifths” because its first theme uses the interval of a fifth in a descending figure that resembles the ringing of clock towers, Schubert’s monumental G major quartet, which was his last, and Copland’s Rondino from Two Pieces for String Quartet.

This is the first time the Miro Quartet is appearing with the Bridgehampton Chamber Music Festival. “I’ve admired them for a long time and am so happy to have them on board,” Ms. Martin said.

The Miro Quartet, formed in 1995, won first prizes at several national and international competitions including the Banff International String Quartet Competition and the Naumburg Chamber Music Competition. In 2005, the string quartet became the first ensemble to be awarded the coveted Avery Fisher Career Grant. The Miro Quartet is the faculty string quartet in residence at the Sarah and Ernest Butler School of Music at the University of Texas at Austin.

“We are so excited to open our doors to music lovers from around the region for our new spring series,” Ms. Martin said. “Widening the scope of the festival while continuing to offer the community the finest repertoire interpreted by some of the best chamber musicians performing today is a dream come true.”

“I’ve always had this idea in the back of my mind,” Ms. Martin said, speaking from her house on the East End earlier this week. Since the two concerts will take place at the Bridgehampton Presbyterian Church, the usual main venue for the summer series, “I had to take a picture of the snow around the church, which was so beautiful and pristine, and compare it to our usual summer photo.”

“We are thrilled to make this next step in BCMF’s history by expanding our season beyond the summer,” said Michael Lawrence, the festival’s executive director. “Because these performances will take place during the school year, we are particularly happy to offer a $10 ticket for students, as well as offer even lower-priced tickets to local students through their schools — hoping to help along our next generation of music lovers.” In fact, Mr. Lawrence himself went to about 12 schools last week, talking with music and arts teachers to encourage students to attend the concerts, an opportunity he doesn’t have for the summer concerts.

In addition, a parent accompanying a student with a lower-price ticket from a school will be admitted for half price.

“It’s also a little scary; it’s not an inexpensive undertaking. But we’re doing our darndest to make a great presentation and get a full audience,” said Ms. Martin.

Both events will take place at 5 p.m. at the Bridgehampton Presbyterian Church.

Tickets are $40 and $50, $10 for students. The summer season, the 32nd for the festival, will be announced in April. More information is at bcmf.org or 212-741-9403.

Guild Hall’s 30th Academy of the Arts Lifetime Achievement Awards dinner will take place Monday from 6 to 10 p.m. at Sotheby’s in New York City.

This year’s honorees are Jules Feiffer, whose literary-media arts award will be presented by Robert Caro, Matthew Broderick for performing arts and Ralph Gibson for visual arts, both of whom will be introduced by Laurie Anderson, and Linda and Harry Macklowe, who will receive an award for leadership and philanthropy from Michael Lynne.

Guild Hall has also announced that Eric Fischl has been named the new president of the Academy, which honors both summer and year-round East End residents who have demonstrated excellence in the visual, literary, and performing arts.

Tickets for cocktails and dinner are priced from $1,500. Young patron tickets, for ages 21 to 40, are $500 for cocktails and dinner, $100 for cocktails only. Proceeds from the evening will benefit Guild Hall.