The Hampton Theatre Company will hold open auditions for “Clybourne Park,” Bruce Norris’s Pulitzer and Tony Award-winning drama about racism in a Midwestern city, on Monday and Tuesday from 5 to 7 p.m. at the Quogue Community Hall. Union and non-union actors have been invited to attend.

The play has roles for four men and three women, ages late 20s to late 40s. Three men and two women are Caucasian; one man and one woman are African-American. Readings will be from the script. Neither monologues nor appointments are necessary.

Rehearsals will begin in early February, and performances will run from March 12 through March 29. More information is available from [email protected].

“Time Stands Still,” the Tony Award-nominated drama by Donald Margulies, will open today at the Quogue Community Hall as the second production of the Hampton Theatre Company’s 30th anniversary season. The play will run through Jan. 25.

In the play’s opening scene, Sarah and James return from a hospital in Germany to their Brooklyn loft. Sarah, a war photographer, is recovering from serious injuries sustained in Iraq, while James, a freelance journalist who suffered a breakdown in Iraq, tries to come to terms with having left the war zone before his partner was injured.

The play concentrates not on the war or politics but on the efforts of Sarah and James to move forward with their lives in more ordinary circumstances.The friction between them is exacerbated by a visit from Richard, a photo editor and former lover of Sarah’s, and his much younger girlfriend, Mandy, whose naiveté and ditziness contrast with Sarah’s sarcasm.

“Time Stands Still” opened in Los Angeles in 2009 and moved to Broadway in 2010, where it starred Laura Linney as Sarah, Brian d’Arcy James as James, Eric Bogosian as Richard, and Alicia Silverstone, subsequently replaced by Christina Ricci, as Mandy.

When asked why the company chose the play, Sarah Hunnewell, executive director of Hampton Theatre Company and director of this production, said, “It’s pretty simple: We liked it! It’s a very meaty play for the actors, director, and audience alike.”

“There are references to things associated with the war in Iraq, but it is not ‘an Iraq play,’ ” Mr. Margulies said in an interview in The Guardian. “War is the backdrop for what is essentially a domestic love story. . . . It is very much about the choices and compromises we all make — in love, in work, and, particular to this play, in war. Ethical struggles touch on all aspects of life.” Mr. Margulies won a Pulitzer Prize for his 2000 play “Dinner With Friends.”

“Time Stands Still” marks the Hampton Theatre Company debut for its four cast members — Sarah Goodwin (Sandy), John Carlin (James), John L. Payne (Richard), and Kate Kenney (Mandy) — all of whom have worked extensively in New York City and regional theater. Sean Marbury designed the sets, Sebastian Paczynski oversees the lighting, and Teresa Lebrun created the costumes.

“Time Stands Still” will play Thursdays and Fridays at 7 p.m., Saturday evenings at 8, and Sundays at 2:30 p.m. Tickets are $25 for adults, $23 for senior citizens (except Saturday), and $10 for students under 21. Tickets and information about available dinner and theater packages are available at hamptontheatre.org.

The future looks bright for Peter Landi and his band, the Glazzies. The band, whose other member is Dave Horn on drums, recently signed to Old Flame Records and expects a summer 2015 release of its second album, “Kill Me Kindly.” Touring in and outside of the U.S. will follow, along with the release of an EP that features Emmett Murphy (better known as Murph) of the alternative rock ’n’ roll band Dinosaur Jr.

While the release of “Kill Me Kindly” is still months away, the Glazzies’ new single, “Spill,” is featured in the online music publication Consequence of Sound. Friday night at 8, the band will return to the Stephen Talkhouse in Amagansett, sharing the stage with Daddy Issues, an all-female trio from Nashville.

Mr. Landi, who lives in Sag Harbor, shows no signs of worry or urgency with regard to success in the crowded and hyper-competitive field of popular music; rather, his methodical approach has thus far opened doors in their own, right time. He and Mr. Horn formed the Glazzies (pronounced “glozzies,” the word is from “A Clockwork Orange,” a copy of which they came across in a rehearsal studio) in 2008, while still in high school. Last December, during Mr. Horn’s temporary departure from the band, Mr. Landi traveled to Sonelab, the Easthampton, Mass. studio of Justin Pizzoferrato, a producer and recording engineer who has worked with bands including Sonic Youth and Dinosaur Jr., the latter a primary influence on the Glazzies.

“He’s done a bunch of records I loved,” Mr. Landi said of the producer, including “Beyond,” Dinosaur Jr.’s 2007 release, which closely coincided with the Glazzies’ formation. “I thought it would be so cool to have a record that sounded like that.” He saw an article online about the producer and his studio, contacted him, and Mr. Pizzoferrato agreed to work with the band.

Though his only formal training is on drums, Mr. Landi plays all of the instruments on “Kill Me Kindly.” “After a couple of years, I decided to stop taking [drum] lessons and started playing along to favorite albums,” he said. “Around middle school, I picked up the guitar because I started getting into bands and everything. By default, I became the singer — nobody else wanted to do it. I ended up really liking it, and enjoyed writing songs.”

Mr. Horn rejoined the Glazzies, and more tracks were recorded during subsequent sessions with Mr. Pizzoferrato at Sonelab, some of them featuring Murph on drums. “We reached out to him and sent him our songs,” Mr. Landi said. “He wrote back that he loved the stuff. We recorded the whole EP live — I was standing 10 feet in front of one of my favorite drummers, kind of losing my mind inside. But he was super-sweet, no ego at all. A genuinely nice guy.”

Even before the sessions for “Kill Me Kindly,” the band was approached on the strength of its debut release, “Time Bomb Love,” by Michael Watkins of   Drunken Piano, a Brooklyn artist management and publicity company. “He found out we were going to be recording with Justin,” Mr. Landi said. “He said that after the record was made, we should talk.” Mr. Watkins shopped the recordings, and Old Flame Records — the first label contacted — was sufficiently impressed.

For the moment, the Glazzies remain a duo, but, in its own right time, the band could expand to a quartet. Mr. Landi and Mr. Horn “have that unspoken musical chemistry,” the former said. “We kind of know what the other one is thinking when we’re playing. It’s hard to find or recreate. The goal is eventually to find a bass player and another guitar player, but it’s got to be the right people, obviously. If it happens, it happens, but if it doesn’t we’ll keep chugging along. For now, we’re excited that people are responding the way they are to a duo.”

The ground beneath the Hamptons art fairs is shifting this summer. For the past three years, Art Southampton held its fair at the Elks Lodge on County Road 39 in Southampton and opened two weeks after ArtHamptons and Art Market Hamptons. Nick Korniloff, director of Art Southampton, said last year he liked being on the highway and opening later. Yet he announced recently that his fair will be moving to Nova’s Ark on Millstone Road in Bridgehampton in 2015 and will run from July 9 through 13, two weeks earlier than last year.

Traffic had to be one consideration as the fair’s V.I.P. preview last July shut down County Road 39 in both directions for miles as lines of cars arriving for the event at the Elks Lodge joined in with the late afternoon summer trade parade from the east and early weekend arrivals from the west.

Jennifer Garvey, deputy chief of staff for Southampton Town Supervisor Anne Throne-Holst, said, “Our office received more calls about that event than any other that I can recall.” She said she could not confirm whether Art South­ampton was told not to return to the Elks Lodge, but said the town is aware of the traffic concerns and that she believed the fairs were actively looking to find alternate locations.

Not to be left out of the scramble, Art Market Hamptons is also on the move. While it has enjoyed the central location of the Bridgehampton Historical Society for the past four years, it is relocating to Fairview Farm at Mecox, located at 19 Horsemill Lane in Bridgehampton, and will run from July 9 through 12.

According to Ms. Garvey, no permits have been issued yet, so these early announcements of sites cannot be considered final until that approval process is completed.

Where does this leave ArtHamptons, which for the past two summers has pitched its tent at Nova’s Ark? Nowhere as of press time, according to Rick Friedman, president of Hamptons Expo Group. However, he was confident that he will find “a prominent site in the Hamptons, and the opening night will benefit Guild Hall and honor Ruth Appelhof, its executive director.”

There is also a question of when ArtHamptons might take place. Some are speculating that the July 9 date on its website is untenable, as the town will not likely approve three fairs in one weekend. But the speculated alternate date of a week before is July 4 weekend, also a potential traffic problem, no matter where it happens. Will Art Hamptons, the longest-running of the fairs, be the odd man out?

Jeffrey Wainhause, co-founder of Art Market Hamptons, was enthusiastic about the fair’s new venue, even though it is not on the highway. “Our new location, the Mecox farm, is in a beautiful spot on the water and will allow us to have a bigger tent, wider aisles, and larger public spaces.”

Ms. Garvey said, in effect, “not so fast” to these announcements. There have been times when events have been advertised without site approval and had to be cancelled.

It will be interesting to see how at least two fairs fare off the beaten path. Of course, in years past traffic has been snarled not only on County Road 39 during Art Southampton, but also at Nova’s Ark, with parking nightmares reported during the ArtHamptons V.I.P. openings. And how will the residents who live on the bucolic byways of Mecox feel about a four-day traffic influx during July?

Mark Borghi, a long-time veteran of Art Hamptons and Art Miami (Mr. Kor­niloff’s flagship venture held in December in Miami), will participate in Art Southampton this year. “Nova’s is a great place to have a fair,” he said. Regarding Art Southampton he said, “If there is one place to do a fair, that would be it. They know how to do a fair; they’re very committed to the quality of what they are doing.”

The shifting sands of the art fairs leave many questions unanswered. But with booth rental fees running into the tens of thousands, none of the fair organizers are likely to go down without a fight.

ArtHamptons started its seven-year run at the Bridgehampton Historical Society, a location that looks to be available this summer. Could it be a case of what goes around, comes around?

The popular series “Fireside Sessions with Nancy Atlas” will return to Bay Street Theater in Sag Harbor on Friday, Jan. 2, at 8 p.m. and continue on Friday evenings throughout January and March. Each concert will feature a special musical guest, with Chad Smith, the drummer for the Red Hot Chili Peppers, scheduled for the Jan. 2 show.

A mainstay of the East End music scene, the Nancy Atlas Project has opened for such artists as Elvis Costello, Lucinda Williams, Jimmy Buffett, Crosby, Stills, and Nash, and many others. Ms. Atlas’s future guests will include Clark Gayton (Jan. 9), a multi-instrumentalist who played trombone on Bruce Springsteen’s Wrecking Ball Tour; Brian Mitchell (Jan. 16), a versatile musician who was a member of the Levon Helm Band, and Randi Fishenfeld (Jan. 23 and 24), an electric violinist who has been said to “bow life into the dead.”

Tickets are $20 and can be purchased at baystreet.org or at the theater’s box office.

Center Stage at Southampton Cultural Center will hold open auditions for “A Chorus Line” on Jan. 3 and 4, beginning promptly at 5 p.m. both days. Rehearsals will begin immediately following the auditions, and the musical will run from Feb. 26 through March 21. Michael Disher, director of Center Stage, will direct the production. Amanda Borsack Jones will be musical director.

Twenty-four roles are available; only Zach and Cassie have been cast. Auditioners will be asked to sing 16 to 24 measures of an upbeat pop song or musical theater ballad. Comfortable clothing for the movement portion of the audition is recommended. Additional information is available from Mr. Disher at [email protected].

On Friday, Jan. 2, at 6 p.m., the Parrish Art Museum in Water Mill will offer a guided writing workshop inspired by the works of Alan Shields now on view in the exhibition “Alan Shields: In Motion.” Participants may create short pieces in any form, including stories, poetry, and descriptive writing. The format will be similar to a life drawing class, but with words as the medium.

The cost is $10, free for members, students, and children.

For Bryan Downey, a photographer, singer-songwriter, and restoration contractor who lives in Sag Harbor, musicians, artists, photographers, and poets on the South Fork were missing something important. That, he said, was a central hub that could serve as a cultural center for performers and audiences alike.

On New Year’s Eve, that will change. Soon after a recent post on Facebook, in which Mr. Downey, a native of Liverpool, England, mused about such a space, his idea came to life. Gerald Mallow, owner of the Sag Harbor Cinema, offered his 480-seat theater for an 11-hour marathon of performances and exhibition of artwork. It is the inaugural event of the Sag Harbor Arts Group.

On Wednesday at 8 a.m., the cinema will open, with coffee and bagels from SagTown Coffee, for early arrivals. All day, visual art, sculpture, and photography will be on display in the cinema’s lobby, and from noon until the event’s 7 p.m. finish, musicians and poets will perform original works on the stage. Old, black and white movies will be shown, as well as “Reel Montauk,” a documentary directed by John Barrett.

At 8 and 10 p.m. there will be another first for the cinema: a stand-up comedy triple bill with Butch Bradley, Marla Schultz, and Matt McCusker. Tickets are $30, $50, and a $90 V.I.P. package.

Also to be shown is an unedited interview with Carl Darenberg, a well-known Montauk resident who died in September. Mr. Downey plans a moment of silence for Mr. Darenberg.

Mr. Downey, who founded the Hamptons Singer-Songwriters collective and Bulldog Studios, a Sag Harbor recording studio, in 2009, said that he knows most of the musicians and artists on the South Fork. “I know the standard of the community,” he said of them. “These amazing musicians are coming — Black and Sparrow, Inda Eaton, Fred Raimondo.” Kerry Kearney, a guitarist, “is coming all the way from Breezy Point, in Queens,” he said.

“I am interested in people that have never been on stage before,” Mr. Downey added, “songwriters that have never been in front of people, because that energy is incredible, when you see someone so nervous.” Poets, he said, will perform “beatnik style,” backed by a jazz trio. “It may throw them off a bit,” he allowed, but they will be permitted to read their work from prepared pages.

Mr. Mallow is no stranger to cultural events outside the realm of cinema. He has been putting on art shows for 38 years, he said, and first organized a jazz concert in 1979, with the late saxophonist Hal McKusick. “This is nothing new to me,” Mr. Mallow said. “The only thing new is Bryan. He’s spending a lot of time and a lot of work doing it, and I think he does it for the love of art.”

The event, Mr. Mallow said, “should be a nice way to bring in the New Year. There should be a lot of local people, so that’s a nice thing to do, not everybody isolated in different little parties.” He said that he hopes to stage future events such as comedy shows and art exhibitions, which would number at least one per month.

Admission to the event will be $12, $2 of which will be donated to Peconic Public Broadcasting’s WPPB radio station.

It’s been quite a year for Sarah Koenig. The Sagaponack native and Sag Harbor summer resident has gone from being known among a small, quirky subset of brainy public radio listeners for “This American Life” to what might be called an international sensation among a larger, quirky set of brainy podcast listeners. All for “Serial,” which has set iTunes records for being the fastest podcast to reach more than 5 million downloads and streams.

As Stephen Colbert observed when he interviewed her on one of the last episodes of “The Colbert Report,” which ended last Thursday, as did this season of “Serial,” she is the “world’s first superstar podcaster.” (He also said she was his favorite guest of all time.) He then asked her if she always wanted “to do true-crime reporting that people listen to on a treadmill?”

Speaking via phone from New York City the day after, she said being on Mr. Colbert’s show was “really fun; he’s such a nice man. I thought I’d be super freaked out and nervous, but I had a good time.”

The series and its enthusiastic reception has led to interviews and analysis in media outlets all over the world, including The New York Times, The Guardian, “PBS NewsHour,” Time, and The Atlantic, among many, many others. There are podcasts, such as “Slate’s Serial Spoiler Specials,” about the podcast, and Twitter handles and hashtags that evolved from the mispronunciation of one of the podcast’s sponsors during a recognition spot that leads into each episode: #mailkimp, anyone? And BBC Radio 4 Extra broadcast the episodes every night at 9 from early December leading up to the finale last week.

“Serial” centers on a murder of a high school senior in Baltimore County, Md. Hae Min Lee, a popular student at Woodlawn High School, went missing in January 1999 and was found strangled a couple of weeks later in a shallow grave. A few weeks after that, Adnan Syed, who was her ex-boyfriend, was arrested and eventually convicted of the murder, with a sentence of life plus 30 years.

Ms. Koenig was approached by a friend of the family who thought Mr. Syed was innocent and that his conviction was based on faulty circumstantial evidence and inadequate representation. She pursued the case and, after more than a year of research, began the podcast on Oct. 3.

Part of the appeal comes from Ms. Koenig and her team as their discussions on the show parse each aspect of the case: retracing the timeline as presented at trial, visiting the key sites, and puzzling over the inconsistencies in the evidence and testimony.

“I had no idea it would get this big, that this many people would be listening, and listening closely.” She said it was a great reminder of how important it is to make “that third phone call or quadruple check of a fact.”

Although a friend alerted her that people involved with the story would come forward in response to the show, she said, “It’s funny, I hadn’t totally thought it through. I guess I’m a dummy and naive about how the media works, oddly.” It did happen in one case she could think of, but much of the new details came from people they had already interviewed, whose memory was jogged by information presented in the show.

And there’s even more: Some 28,000 people have participated in an online Reddit forum dedicated to the show, with devotees offering their own evidence and theories of the case. It’s a large enough group to need its own policing and has several monitors assigned to it to make sure things stay civil and private information about the people the show discusses is not posted or abused.

Why all the hullabaloo? Chiefly, it seems that Ms. Koenig has taken a medium, the podcast, and revealed what it can be at its full narrative potential, incorporating the best aspects of journalism and its ability to tell a true story with rich detail and complexity. Through her background and current experience at “This American Life,” which does the same thing on a more limited scale for radio, she is someone uniquely situated and qualified to do so.

Her father was Julian Koenig, who lived part time in Bridgehampton. An advertising executive, he was the creative mind behind Timex’s “It takes a licking and keeps on ticking” slogan and groundbreaking campaigns for the Volkswagen Beetle, among many others. The stories he told through ads were super-quick, but full of resonance. Her stepfather was Peter Matthiessen, a writer of fiction and highly evocative nonfiction and co-founder of The Paris Review. Both men died earlier this year.

Ms. Koenig did not wish to discuss those personal losses, but she did share remembrances of childhood spent in those households. “My stepfather was a writer, so there were lots of writers and artists around. I think what was great growing up in that house for me was that conversation was so highly prized as a thing to do and to engage in in a real way. I didn’t understand how great that was and how rare it was in some ways.”

When confronted with dinner parties where people are talking mainly about office politics, her response is, “This isn’t a conversation! This is supposed to be more interesting, and it can be if we put more effort and value in being thoughtful in what you say and stay curious about the world.”

Such an ethos certainly guides her work in “Serial,” where she is always cognizant that this is a story in which someone died, the victim’s family and friends are still stricken with the loss, and someone is spending his life in prison who may or may not be guilty of the crime.

The process of reporting it was similar to work on “This American Life” segments. “It is the same stuff you do — relentless phone calls, endless emails — we just got more time on this one. It’s like any story, it’s not done just because you’re done” or it’s due. She said there were a ton of stories with “lingering questions and enough confusion surrounding them” that you “could never be done with them.”

A new season with a new subject is promised for 2015, which, given how much time went into this one, is probably already chosen but was not something she would share.

Some of the downside of all the attention is the inevitable backlash. There have been articles both attacking and defending the show’s treatment of race and immigration and some questioning whether she has withheld information for narrative effect.

“These are people’s real lives. This is not a game,” Ms. Koenig said. “If there is any factual information I’ve withheld, it was for very strong journalistic reasons,” things she and her producers were not able to confirm or fact-check. “I feel glad I work with people who care this much about getting it right.”

The format of the show also dictates how information is relayed. “I can’t give everything at once . . . there has to be logic and an arc to the structure. In the first part of the series I need you to know what I know about the case, the basics‚” so that the audience can then use that information to weigh the further evidence presented. “Of course I could make one 12-hour story, but who’s going to listen to that?”

Her journalistic credentials are impressive. At “This American Life” she won a Peabody Award for co-producing a 2006 episode. Prior to that she had stints at The Concord Monitor and then The Baltimore Sun, where in 2001 she reported on the improprieties and eventual disbarment of Christine Gutierrez, who was Mr. Syed’s defense attorney at his first trial and considered one of the best at the time. Ms. Gutierrez died in 2004.

And before that, Ms. Koenig was in Moscow, first with ABC News and then with The New York Times. Her first reporting job, however, was with The East Hampton Star. She started in the summer covering benefit parties and then stayed on for another year. “It was my first job. I got to do everything. I learned a ton, all the basics.”

She comes back to Sag Harbor every summer per an arrangement with her husband, Ben Schreier, a professor at Penn State University, which is where they live with their children the remainder of the year. She still thinks of Sag Harbor and Sagaponack as her home.

“It was my condition that if we moved to the middle of Pennsylvania, we had to get out to Long Island for three months a year.”

Although she has been in New York City recently for interviews and traveled to Baltimore for much of the research for the show, a lot of the work is done in the basement of her house in State College, where she records and writes. It is also where she runs the risk, when she goes down in the morning, of emerging hours later still in her pajamas, and why she keeps an office in town as well.

It’s the kind of campus-based household where she has found students peeing on her lawn in the wee hours of the morning, documented in an all-night stakeout for “This American Life,” and where their one television, which broke a few years ago, has never been replaced.

At the time of the interview for this article, the last episode was still in production, and she was not sure how it would end. A draft was due in a few days “and I really don’t know what’s going to be in it. I’m being really serious.” She had to keep the interview short, as “three fires were burning” already, presumably new information that did come to light in the last episode. Some followers of the series may have hoped for a huge revelation or denouement. Yet the story, while progressing, left many questions it had posed unanswered, but not for lack of trying.

“I’m sure there will be a few people who aren’t happy it ends this way, but that has to be okay. It’s not a drama. I can’t make up a neat ending that isn’t there,” Ms. Koenig said. “It has to come straight from reporting, as it should be. . . . A Hollywood ending was always impossible, it’s not what we’re doing.”

Bay Street Theater in Sag Harbor has announced that the musical “Grey Gardens” will be part of its 2015 Mainstage season, with a run from July 28 through Aug. 30. Based on the 1975 documentary film by Albert and David Maysles about Big Edie and Little Edie Bouvier Beale, the show has a book by Doug Wright, music by Scott Frankel, and lyrics by Michael Korrie. Casting and the creative team will be announced at a later date, as will next summer’s other productions.

In the meantime, Bay Street will be celebrating the holidays this weekend with “Mixed Nuts: A Classic Holiday Nutcracker . . . With a Twist,” a musical theater piece presented by Studio 3, the Bridgehampton dance company. Performances of the “mash-up of holiday books” will take place tomorrow at 7 p.m. and Saturday at 1 and 7 p.m. Tickets, which can be purchased by calling 537-3008, are $20 in advance, $25 at the door. For senior citizens and children 10 and under, the tariff is $15 in advance, $20 at the door.

“The Vendettas: A Rock and Roll Holiday Spectacular” will keep the theater hopping on Sunday evening with a performance by a trio known for its interpretation of 1950s jukebox hits, Rockabilly classics, and, for this show, rocking holiday tunes.

The Holiday Horns, Mike Ryan, a pianist, and Erin Doherty, a vocalist, are also on the program, which Bay Street recommends as a great holiday event for the entire family. Tickets, which are $15, are available at baystreet.org or by calling the theater’s box office.