Michael Disher will offer a three-week acting class at the Southampton Cultural Center from Tuesday through Nov. 19.

“The Vocal and Physical Monologue” will meet on Tuesdays and Wednesdays from 6 to 8:30 p.m. Class size will be limited to 16 actors, who will gain an understanding of the range of their vocal skills and physicality using monologues.

The $175 course is open to actors over the age of 16. Those interested can contact Mr. Disher at mbentondisher@ gmail.com to request a brief informational form and further instructions.

For early-bird snowbirds, Lynn University in Boca Raton will present a one-night reading of  “East Hampton, Last Summer,” a new comedy with music by Tony Finstrom,  at 7:30 p.m. on Monday. A retired opera star and her playwright companion compete for social status in the bygone days of 1960. Tickets for the reading are $10 and available through lynn.edu/tickets.

Carone at Washburn

The Washburn Gallery in New York City will present “Nicolas Carone: Paintings From the 1950s” today through Jan. 17, with a reception tonight from 6 to 8.

Although Mr. Carone continued to paint until his death in 2010 at 93, it was during the ’50s that he was a central figure in the New York School. He bought a house in Springs in 1954 and split his time afterward between the city and the South Fork.

Helen Harrison, the director of the Pollock-Krasner House and Study Center, has written of Mr. Carone, “During the 1950s, when he was living and working in Springs while managing the Stable Gallery in Manhattan, the outer world of his immediate experience was divided between city and country. The tension of this urban-rural dichotomy is reflected in the dynamic movement, rendered in earthy tonalities, that characterizes Carone’s paintings of that decade.”

Ceglic’s Mother’s Store

FiveMyles, a gallery in Crown Heights, Brooklyn, will present “My Mother’s Store,” an installation by Jack Ceglic, from Saturday through Dec. 13. A reception will be held Saturday from 5 to 8 p.m.

Mr. Ceglic, an artist who lives in East Hampton and New York City and who co-founded and designed Dean and DeLuca, grew up in Crown Heights, where his parents owned an egg and butter store 70 years ago.

The installation will include 25 drawings of the foods that were displayed in his parents’ store. In the center of the gallery he will create a remembered interpretation of the corner of the store where his father checked eggs for freshness. The gallery floor will be painted the yellow of butter and egg yolks. A talk on the changing aesthetics of food retailing will take place Dec. 13 at 4 p.m.

Performance at Parrish

The Parrish Art Museum in Water Mill will present “Into the Maze,” a performance by the Stephen Petronio Company inspired by and set in “Maze,” a large sculpture by Alan Shields, tomorrow at 6 p.m. and Saturday afternoon at 1, 2, 3, and 4.

“Maze” is the centerpiece of the exhibition “Alan Shields: In Motion,” on view at the museum through Jan. 19. Constructed from painted canvas and cotton belting hung from a grid of steel poles, the work stands seven feet tall and has two entrances.

Created by Mr. Petronio, whose New York-based dance company has performed in 26 countries over the past 30 years, the performance will incorporate body pieces designed by Mr. Shields. Terrie Sultan, the director of the Parrish, will introduce tomorrow’s performance, and a question-and-answer period with Mr. Petronio will follow. The dancers will give interactive tours of “Maze” after each of the 20-minute performances.

Tickets are $10, free for members, students, and children.

Five at Ashawagh

“Five for Fall,” a group exhibition, will be on view Saturday and Sunday at Ashawagh Hall in Springs, with a reception planned for Saturday from 5 to 8 p.m.

Participating artists are Joan Furia Klutch, a painter and printmaker whose expressionist palette abstracts nature’s shapes and colors; John Todaro, a photographer whose images focus on contrast, color, and pattern in nature, and Cynthia Loewen, a painter who specializes in landscapes and seascapes.

Also on view will be works by Lynn Martell, whose paintings and watercolors highlight luminescence and contrast in the East End landscape, and Peter Gumpel, an architect whose figurative watercolors seek to capture the essence of a scene or figure.

Zerner’s Tapestry Collages

The Enchanted World Emporium in East Hampton is presenting an ongoing exhibition of tapestry and mixed-media collages by Amy Zerner, an East Hampton artist and fashion designer whose one-of-a-kind couture creations are sold exclusively through Bergdorf Goodman and Neiman Marcus.

Persian paintings, Victoriana, fairy-tale art, mythology, and other sources inspire the images in her lush, intricate fabric collages. They are composed of landscapes, sacred spaces, temples, and grottos, with patches of embroidered, painted, and printed imagery stitched layer on layer. Cutting, sewing, balancing, placing, and replacing, Ms. Zerner also paints, dyes, and colors directly.

The Enchanted World Emporium is in the Parrish Mews next to Rowdy Hall.

Building on their strong production of “Macbeth” two years ago, Morgan and Tristan Vaughan and their Roundtable Theatre Company will now tackle “Hamlet‚” beginning tomorrow at Guild Hall.

Although one of Ms. Vaughan’s goals is to make the play more accessible to the audience, she will not abandon the classic. “We are taking out text that is not relevant, not adding text. The actors will still be fighting with swords, not guns,” she said during a break in a recent rehearsal. Ms. Vaughan is directing Mr. Vaughan, her husband, in the title role.

Why “Hamlet‚” and why now? “For me, it is the most relevant of Shakespeare’s plays right now, in the way ‘Romeo and Juliet’ was when I was 16 and ‘King Lear’ might be later on in life,” she said. For the broader audience, the self-involvement of Hamlet’s character reminds her a lot of today’s obsession with selfies‚ and what those self-portraits say about the people who take them.

The director likes the challenge of capturing Hamlet as he grows and changes within the performance. “It is the most intricate and intellectual study of how we actually behave,” including all of the characters around him.

The rehearsal of the scene in Ger­trude’s bedroom after Hamlet has killed Polonius offered a potent glimpse of how complicated the play’s emotions are and what the language tells us about the characters. It was early in the timeline of the production. Some characters were still learning their lines, and the scenes were being performed primarily to see where onstage it made most sense to say them. This included alcoves to the side of the stage, the aisle, and even the balcony. The actors were working to find their interpretations of the characters. Soon they would perform for an audience, but now they were doing it for themselves.

Onstage were Dianne Benson, Jeff Keogh, Sawyer Avery, and Peter Connolly. Ms. Benson said her lines neutrally and quickly to Claudius, played by Mr. Keogh. Ms. Vaughan asked her how she, as Gertrude, felt.

“Exhausted. She is ready to spill it all out and confirm that [Hamlet] is mad,” Ms. Benson replied.

Ms. Vaughan encouraged her to “just say the words. It doesn’t have to be emotional, because that is where we are at this point. Get the information to him: [Hamlet] is crazy, he killed someone, he took the body. And also, get out, Rosenkrantz and Guildenstern! Hamlet did murder someone right in front of you, you need to tell [Claudius] first, before anyone else.”

Mr. Connolly and Mr. Avery play Hamlet’s school friends, who are also earnest courtiers and Claudius’s inept henchmen. They appeared to have found their characters already in their simple presence onstage. While the rest of the cast worked without their scripts, they held on to theirs, even though that scene had no lines for them.

To be fair, Rosenkrantz and Guildenstern were in the scene simply to show the chaos now ruling the court. Their presence in the queen’s bedroom would be completely inappropriate under normal circumstances, but they have followed Claudius there, eager to do his bidding. Gertrude’s ordering them away demonstrates her dawning realization that her new husband and his behavior are not what she thought they were.

As the scenes progressed Mr. Avery and Mr. Connolly continued to be a half-step behind the other actors, using their slowness humorously to entertain the cast and crew. Ms. Vaughan and the others teased them, but she appeared quietly pleased that their characters were beginning to gel. Mr. Vaughan showed evidence of seeing the world as Hamlet as well. After Ms. Vaughan pointed out to the cast that it was weird that Hamlet’s friends were in the queen’s bedroom, he heckled from the seats, “Oh, who hasn’t been?”

As director, Ms. Vaughan encouraged her actors to find their own truth in their roles. During a break, she said it was most important to her that none of the characters be caricatures, particularly the women, and that Ophelia’s loss of sanity not be overdone.

“Shakespeare had this great grasp of mental illness. His Ophelia in a psychotic state is done so well.” After Ophelia is rejected by Hamlet and then loses her father with her brother away, she as a woman in that society loses all control of her destiny. “There’s nobody to protect her, and her brain fries. She just can’t take it, she cracks.” Rather than draw upon hysteria, Ms. Vaughan said the reality of mental illness is that “you often don’t know someone is crazy until they say something crazy. It’s often just more erratic behavior” than the rest of us.

She drew a parallel to Hamlet’s depression in his first soliloquy: “O, that this too too solid flesh would melt, thaw, and resolve itself into a dew!”

“The pain is so great, but the next sentence is about revenge,” she said. “These two are not just these depressed people.”

In “Macbeth,” Mr. Vaughan directed Ms. Vaughan as Lady Macbeth. Now she is in the driver’s seat. Their strategy in directing each other, she said, is, “you choose your battles.”

The Vaughans, who have known each other since they were classmates in drama school, have seen each other at their best and worst. Over time, said Ms. Vaughan, “we have developed the same taste and the same language.” Most of their communication can be in shorthand. Arguments tend to be about the use of a sword or a place in the text, not about overarching themes or their interpretation.

For his part, Mr. Vaughan said in a video prepared by Guild Hall, he has full trust in his wife and is at ease with her more than with anyone else. The key to Hamlet, for him, was to learn the text through and through, to trust the writing. “It goes with me wherever I move,” he said. At the same time, it’s a role that has to be controlled. “There is so much hinging on him as the central figure, you have to control it or it all will fall apart.”

The play will be performed Fridays through Sundays through Nov. 23. Tickets, $25 or $15 for students, will be available at the door or online at guildhall. org.

In honor of Veterans Day and the centennial of the outbreak of World War I, the Montauk Library will present “Over There: Songs of World War I,” a free concert, on Sunday at 3:30 p.m.

Linda Russell, balladeer for the National Park Service at Federal Hall National Memorial in New York City for 16 years, will interpret the Great War through the music of the battlefield and the home front.

Along with Margery Cohen and Eric Johnson, two performers with extensive Broadway credits, Ms. Russell will play marching tunes, humorous ditties, love songs, and wistful laments.

“The Only Real Game,” a documentary by Mirra Bank about the popularity of baseball in the isolated state of Manipur in India, will be screened at Quad Cinema in New York City tomorrow through next Thursday.

Ms. Bank, who lives in East Hampton, presents a portrait of the past and present in a complex society that hosts two envoy coaches from Major League Baseball. Images of instructional clinics are intercut with archival material that fills in the history of Manipur, including its ongoing 50 years of martial law.

“The Only Real Game” was presented in December as part of the 2013 Hamptons Take 2 Documentary Film Festival at Bay Street Theater in Sag Harbor.

“Celebrating Architecture,” a program of A.I.A. Peconic, will take place Saturday from 6:30 to 9 p.m. at the Southampton Arts Center in the old Parrish Art Museum building on Job’s Lane.

The evening will offer an opportunity to see three exhibits — “Art by Architects,” “Firm Exhibits,” and “Design Award Entries.” The 2014 Daniel J. Rowen Memorial Design Award winners will be announced.

Tickets are $55 and entitle guests to hors d’oeuvres and cocktails.

Mary Black, a dominant presence in Irish music both at home and abroad for 25 years, will perform at the Basilica Parish of the Sacred Heart Jesus and Mary Catholic Church in Southampton tomorrow at 7 p.m. as part of her international “Last Call Tour.”

Throughout her career, Ms. Black has explored work available from new composers, rather than focusing on traditional but well-worn Irish ballads. She has released 11 studio albums, all of which went platinum, and has recorded and performed with such artists as Emmylou Harris, Mary Chapin Carpenter, Joan Baez, and Van Morrison.

Tickets for the concert are $32, $40 for premium center aisle, and can be purchased online at shjmbasilica.org.

The Joseph Slifka Center for Jewish Life at Yale is presenting “No One Remembers Alone: Memory, Migration, and the Making of an American Family,” an exhibition organized by Patricia Klindienst, through Feb. 1.

Ms. Klindienst, a summer resident of Amagansett, has created a visual biography of a family of Russian Jews who immigrated to the New World at the turn of the 20th century. Drawing on six years of archival and genealogical research and dozens of interviews, she illuminates a turning point in history, telling a story that could belong to millions of American Jews.

The John Drew Theater Lab will present “Songs of Life and Love,” a free performance by Paul Alexander, Tuesday at 7:30 p.m. at Guild Hall. Mr. Alexander, an ASCAP award-winner and East End resident, has performed at many venues, New York City cabaret clubs and theaters among them. The program will include an eclectic mix of pop songs, standards, country, and a few originals. Dan Koontz will accompany Mr. Alexander.