“Travesties” by Sir Tom Stoppard opened Saturday as the second production in Bay Street’s season of — as Scott Schwartz, the artistic director, puts it — “art and revolution.” If one were to Google the words “plays about art and revolution,” this provocative and brilliant offering by the Isaac Newton of theater would most likely be first, or at least in the top 10.

The evening follows the tangential thoughts of Henry Carr, veteran of the Great War, as he semi-recalls his time in Zurich with the author James Joyce, Tristan Tzara, Dadaist innovator, and “Comrade” Vladimir Lenin, founder of the Russian Revolution.

“Travesties” includes references to Joyce’s 1917 production of Oscar Wilde’s “The Importance of Being Earnest,” which was indeed performed by the English Players in Switzerland, and did indeed include a Henry Carr in its cast. That’s all the indeeds you’ll be getting, because it doesn’t really matter whether any of it happened or not, since Sir Tom, through the senile Mr. Carr, mixes fact, fiction, poetry, dance, magic, music, revolution, and striptease into an evening of layered social and artistic meaning and humor.

The fourth wall is broken during the first five minutes, the fifth wall by the end of Act One, and other walls are built and broken as the evening progresses. There is a scene performed entirely in limerick, another only using quotes from Shakespeare, and life imitates art imitates life, as Mr. Carr continues to confuse events from 1917 with scenes from Oscar Wilde’s breezy comedy.

Once again, it’s not particularly important to know or notice these references. If you “get it,” you will have the opportunity to feel wicked smart; if not, “Travesties” is still an astonishing play about artistic and social revolution. And there’s boobies.

Who cares if one is familiar with the parody of one of vaudeville’s greatest two-man songs, “Mr. Gallagher and Mr. Shean,” when it is performed by two gorgeous women in lingerie and degenerates into an erotic pie fight? Or with the satire of the saloonkeeper Martin J. Dooley, a columnist for The Chicago Post (really the alter ego of Finley Peter Dunne, a journalist, and a thorn in James Joyce’s side), when it leads to another musical number by the cast and crew?

Richard Kind, a Bay Street trustee and perennial Sag Harbor board-treader, takes on the role of Mr. Carr, a British consul with a failing memory and a fetish for sartorial splendor, with electricity and passion, while still managing to wear the part like a comfortable pair of trousers — he talks to the audience up close and personal and clearly feels at home on Bay Street’s stage. The part of Henry Carr is one of extraordinary verbiage — some monologues are delivered rat-a-tat-tat — and it is Mr. Kind’s good fortune to play a character with a pleasant form of dementia, since the occasional line flub can be placed in the aging hands belonging to Mr. Carr, not Mr. Kind.

The director, Gregory Boyd, is another star in an evening full of them. As artistic director of Houston’s Alley Theatre, Mr. Boyd is clearly a lover of all things Stoppard (he has directed “Travesties” before, including a production at the Long Wharf in New Haven) and manages to separate the ridiculous from the sublime with sound effects, lighting, and scenic changes. It is crucial to this play (as it is to “The Real Thing,” another of Sir Tom’s brilliant sojourns into the fantasy-reality continuum) that actions and words and scene changes move at a fast and ferocious pace, and Mr. Boyd and his costume, set, and lighting team deserve major props for accomplishing the almost impossible.

Michael Benz portrays Tristan Tzara and Earnest with a necessary dose of silliness and appropriate arrogance in a dynamic turn. Carson Elrod, who takes on the role of James Joyce, delivers a plucky Irish performance, skating between erudition and buffoonery. The multitalented Andrew Weems plays Lenin flawlessly, capturing both his incendiary leadership and his passion for the classical — a revolutionary when it comes to politics but not to art. Aloysius Gigl — no, not one of Joyce’s characters, but an actor in this production — also offers a multilayered performance as Bennett, Mr. Carr’s manservant.

The cast of women is led by Isabelle Keating as Lenin’s wife, Nadya, an outstanding performance by an actress of fortitude and fervor. Emily Trask and Julia Motyka have a chance to shine their own beacons as they play librarians and lovers. There is more to tell, but unlike Joyce’s ponderous tome “Ulysses,” newspaper space is at a premium.

The question is: Will it play in Peoria? Sag Harbor in the summertime is inhabited less and less by the artistic and revolutionary, more and more by the tanned and the shellacked. An audience member on the opening night of “Travesties” was heard to mutter to her mate, “What’s a theater patron?” — pronouncing the latter word as if it were a brand of tequila.

That is of no consequence to the cast and crew of “Travesties,” who deserve a rousing “Hoopsa boyaboy hoopsa.”

John Leguizamo, an Emmy Award-winning actor and comedian who has appeared in more than 50 films, will take the stage at Guild Hall’s John Drew Theater at 8 tonight with “Ghetto Klown,” a one-man play directed by Fisher Stevens. Mr. Leguizamo will draw upon characters from his adolescent memories of Queens, his early acting career, and Hollywood film sets. Balcony tickets are $45, $43 for members; orchestra tickets are $65 and $63, and prime orchestra seats are $100, $95.

Comedy will be king again on Saturday evening at 7, as Martin Short presents a variety show featuring madcap antics, hilarious skits, zany characters, song-and-dance numbers, and stand-up hilarity.

The versatile Mr. Short, a former cast member of “Saturday Night Live,” has appeared in countless films and on Broadway. Is he funny? Larry David called him “the funniest guy I’ve ever met.” Balcony tickets are $150, $145 for members, while orchestra seats are $250.

For those wishing to shell out $750 and up, a benefit dinner will be held at a private East Hampton residence immediately following the show.

Guild Hall’s Songbook Salon at the Southampton Arts Center will present Melissa Errico, a singer-actress who has starred in seven Broadway productions and released three solo CDs, on Saturday at 8 p.m. The program will include musical theater classics from the composers Jule Styne, Comden and Green, Rodgers and Hammerstein, Stephen Sondheim, and Stephen Schwartz.

Tickets are $60, $58 for Guild Hall members. For $85, fans can enjoy a reception with Ms. Errico after the show.

The Perlman Music Program’s summer music school on Shelter Island is presenting two free concerts this weekend in the Geffenberg Performance Tent.

Tomorrow at 7:30 p.m. the program’s teachers will present their annual concert. Artists will include Yi-Fang Huang, Jeffrey Irvine, Ron Leonard, Merry Peckham, Itzhak Perlman himself, Patrick Romano, John Root, and Pauline Yang. Saturday’s concert, also at 7:30, will feature the school’s students.

More information and a full summer calendar may be found at perlmanmusicprogram.org.

The Parrish Art Museum’s Sounds of Summer series will resume tomorrow at 6 p.m. with a performance by Mambo Loco. Formed in 2003, Mambo Loco blends classic Afro-Cuban and Puerto Rican music with old-school Latin and Latin Jazz.

The band members are Larry Belford, a drummer and vocalist who has performed with some of the foremost Latin groups in New York City; Alfredo Gonzalez, whose trombone, violin, percussion, and vocals have added a “Sabor Latino” to the group; Bill Smith, a classically trained musician who plays piano and melodica and contributes vocals, and Wayne Burgess, like Mr. Smith a Berklee College of Music alumnus, who contributes bass and vocals.

Summer music concerts are free with museum admission. Guests are invited to bring lawn chairs and blankets, and the cafe is open for refreshments.

The museum is also offering a new outdoor summer program, Yoga on the Terrace With Ananda, Sunday morning at 11 and every Sunday through August. The class is open to participants at all levels, and the one-hour session is included in the museum admission price. Yoga mats will be for sale in the museum shop, and post-yoga breakfast items will be available in the Golden Pear Cafe.

Visitors to Aubrey Roemer’s cool, sizable studio, in a rented basement apartment in Montauk, are greeted with a sea of local faces painted on linen and strung from the rafters of the room. The work was originally called “The Montauk Portrait Project,” but she has since decided to call it “Leviathan,” to represent a large vessel of the sea.

Her goal was to capture at least 10 percent of the hamlet’s year-round community, roughly 400 people. At last count, on June 19, she had completed 100 pieces, and has now decided to shoot for 500.

A graduate of Pratt Institute, Ms. Roemer had never been to Montauk before she jumped on a train in October to get away from a troubled time in her life. Friends had warned her that the locals were a crusty, unfriendly group, but, she said, she found just the opposite. “Everyone has been so friendly, and so helpful.”

On the train back to Brooklyn, she said, she felt as if she were wrapped in a big cozy blanket and knew she would return. “I was super-grateful and left with a smile on my face.” That was when the idea hit her. “I saw the project in my head. I saw the vision, and I just wanted to be here in Montauk.”

She had created a similar work once before, with strippers as her subjects. The owner of the strip club allowed her to exhibit the finished work in the club. “It turned a nontraditional venue into a venue of high art, and people loved it!”

When Ms. Roemer returned to Montauk she spoke with bartenders, fishermen, and other service workers, all of whom offered her advice. Some sat for their portraits, a process that takes only about 20 minutes.

She uses blue paint on fabric foraged from all over the place, including bedsheets from the Montauk Community Church’s rummage sales. The paint leaches through to the cloth, creating an aura of haze, typical of the East End fog.

Ms. Roemer plans an exhibit at the end of the summer, to be held near a body of water. The sun on the water, she said, will lend a stained-glass effect.    If the East Hampton Town Board gives the go-ahead, she will install her work at the pier at the end of Navy Road, to be visible by land or sea. If anyone wants to sit for their portrait, she said, she can be reached at [email protected].

Eric Dever in Chelsea

An exhibition of paintings by Eric Dever, who lives and works in Water Mill, will open today at the Berry Campbell Gallery in Chelsea and run through Aug. 9. Mr. Dever has pursued intensely focused investigations into the methods and materials of painting for more than a decade. In the past his compositions were largely geometric, including concentric circles graded from dark to light and variations on the grid. His most recent work has broadened into free shapes and tactile surfaces, the starting point for which was a rose in his garden that he deconstructed.

Mr. Dever has exhibited throughout the United States and abroad, most recently in the show “Redacted” at the Islip Art Museum. Jodie Manasevit, an abstract painter who lives in Brooklyn, will be exhibiting at the gallery concurrently with Mr. Dever. An opening reception will be held today from 6 to 8 p.m.

Richmond Burton Returns

The Silas Marder Gallery in Bridgehampton will present a solo exhibition of paintings by Richmond Burton from Saturday through Aug. 11. A reception for the artist will take place Saturday from 5 to 8 p.m.

Mr. Burton, who lived and worked in the former East Hampton studio of Elaine de Kooning from 1998 through 2011, had his first one-artist show in New York when he was in his 20s and has been exhibiting internationally since then. Among the many museums that have collected his work are the Metropolitan Museum of Art, the Museum of Modern Art, and the Art Institute of Chicago.

His colorful and harmonious paintings and graphic work are composites of his vocabulary of organic shapes that flow together in undulating patterns resulting in unique multicolored abstractions. The exhibition will include several large-scale works created before he left the East End, as well as recent paintings.

Broderick at Ille Arts

Ille Arts in Amagansett is presenting an exhibition of paintings by Patricia Broderick, a painter and writer who died in 2003, from Saturday through July 29. Broderick lived on Washington Square Park in New York for much of her life. She started painting in her teens under the tutelage of the Mexican artist Rufino Tamayo, and later at the Art Students League. She also wrote and directed several plays, and went on to write for television and motion pictures.

Her paintings are highly personal and often involve memories of family, friends, and important events in her life. Others depict figures looking out windows, or looking into a distant landscape. She also painted landscapes of Ireland where she and her husband, the actor James Broderick, owned a house, and where the family spent a good deal of time over the years. A reception will be held at the gallery on Saturday from 6 to 8 p.m.

Sonnier in Southampton

“Keith Sonnier: Elliptical Transmissions” will open next Thursday at the Tripoli Gallery in Southampton and remain on view through Aug. 17. Transmission has figured in Mr. Sonnier’s work since the 1970s, when he began experimenting with the formal properties of video. In 1977 he and Liza Bear made the first live two-way telecast between New York and San Francisco during which artists at both ends interacted with each other in real time.

The Tripoli exhibition will include work from 1990 through 2013, including “Ellipse I” and “Ellipse II,” from 1993, whose shapes Mr. Sonnier has referred to as astral in appearance, and more recent work that reflects changes in technology.

Mr. Sonnier, who lives in New York and Bridgehampton, is one of several artists who in the late 1960s radically reinvented sculpture through the use of new materials and technologies. His work has been exhibited and collected internationally for more than 40 years.

A reception will take place next Thursday from 6 to 8 p.m.

Anyone looking for crowds this weekend is sure to enjoy this week’s return of two art fairs that have succeeded in becoming a fixture in Bridgehampton in the second weekend in July.

Once the young upstart, Art Market Hamptons will return now for a fourth year with a slightly different spelling of its name at its space at the Bridgehampton Museum on the grounds of Corwith House. ArtHamptons will return for a seventh year in the same space it occupied last year at Nova’s Ark on Millstone Road.

Art Market is the smaller of the fairs, with 40 galleries showing work, but it has a better reputation for culling its participants with an eye towards curatorial cohesion and artistic quality. ArtHamptons has always been more of an eclectic mix of galleries drawn from around the world with a hodgepodge of styles and less attention to connoisseurship.

Both hold benefit openings for South Fork art institutions as one way of gaining clout and attention. This year’s beneficiary of Art Market’s opening night will be the LongHouse Reserve in East Hampton. The fair is also partnering with Norwood, a social club in New York City, to provide music, cocktails, and “transformative interiors.”

Guild Hall will be the recipient of proceeds from ArtHamptons, which will also honor local artists such as Jane Freilicher, this year’s lifetime achievement honoree, and Robert Wilson as arts patron of the year.

As usual, ArtHamptons will be hosting a series of parties and events as well, including a polo demonstration for fairgoers and museum junior committees that will benefit the Southampton Arts Center. A special event for children will be offered on Sunday when Free Arts NYC will visit the fair to provide a “morning of art exploration for kids and their families.”

Art Market has a more low-key approach to running its fair; the art is the main attraction. It relies on its cultural partners to help spread the word and attract attendees. This year’s partners are the Asia Society, the Brooklyn Museum, the Solomon R. Guggenheim Museum, and the International Center of Photography, among others.

Seizing on the new popularity of casual but high-end artisanal food vendors at certain art fairs, Art Market will have three well-known purveyors from Brooklyn participating. They include Roberta’s, which is known for its pizza, Red Hook Lobster Pound, which has a Montauk outpost, to provide lobster rolls and other seafood creations, and Van Leeuwen Ice Cream. ArtHamptons will have Cheffe Colette, the chef and owner of Inn Spot on the Bay in Quogue.

Local galleries will participate in both fairs. Art Market’s South Fork galleries will include Birnam Wood, Eric Firestone, Grenning, Kathryn Markel, Neoteric Fine Art, Sara Nightingale, and Vered, which will have a modern and contemporary booth. Art Hamptons will host the Tulla Booth, Karyn Mannix Contemporary, Richard Demato, Mark Borghi, Lawrence Fine Art, Monika Olko, Clic, Chase Edwards, and Bridgehampton Fine Art galleries.

Among the South Fork artists showing at the fairs are Bastienne Schmidt, Eric Dever, Margaret Garrett, Sydney Albertini, Barbara Bilotta, and Matthew Satz.

Complete listings of participating galleries and artists, as well as the activities schedules, may be found on the websites arthamptons.com and artmarkethamptons.com.

Crossroads Music in Amagansett will present a concert by the Complete Unknowns, a band that celebrates the music of Bob Dylan, on Wednesday at the John Drew Theater at Guild Hall in East Hampton. Tickets are $20, or $18 for members, with prime orchestra seats at $40, $38 for members. The show will begin with a guitar performance by Matty Liot at 7:30 p.m. On Saturday, a preview mini-concert will be held at Innersleeve Records in Amagansett at 6 p.m.

The band is made up of Michael Weiskopf on guitar, harmonica, and vocals; Randolph Hudson III on guitar, synthesizer, and vocals; Klyph Black on guitar and vocals; Jim Lawler on drums; Stuart Sherman on keyboards, and Taka Shimizu on bass and vocals.

Mr. Weiskopf also writes and performs original music. His second release, “Suffering Fools,” was released in April.

Patrons who preorder a prime orchestra seat will receive a free CD. They can choose from “Suffering Fools” or “Second Time Around,” by Mr. Black’s band, Black and Sparrow.

The Complete Unknowns recently appeared at events marking Mr. Dylan’s 73rd birthday, including the annual festival at the Warwick Valley Winery and Distillery in Warwick, N.Y., and at the B.B. King Blues Club and Grill in Manhattan. On Monday the band, now in its sixth year, will perform at the renowned Cafe Wha? in Greenwich Village.

“To me, that’s sacred ground,” Mr. Weiskopf said of the venue that Mr. Dylan visited upon arriving in New York from his home state of Minnesota in the early 1960s. “He got into Manhattan right off the George Washington Bridge, took the subway downtown, and the first place he went into was Cafe Wha?”

At Guild Hall, the audience can expect a broad mix of songs from Mr. Dylan’s five-decade-plus catalog. In the 50th-anniversary year of the albums “The Times They Are a-Changin’ ” and “Another Side of Bob Dylan,” songs from those releases will be offered. “Some acoustic stuff, some really deep tracks” are also in store, Mr. Weiskopf said.

With anniversaries of even greater significance approaching — Mr. Dylan “plugging in” and playing electric guitar with a rock ’n’ roll band at the Newport Folk Festival and the albums “Bringing It All Back Home” and “Highway 61 Revisited,” all in 1965 — the Complete Unknowns are acknowledging these seminal albums and events that, Mr. Weiskopf observed, “twisted the folk and rock worlds on their head.”

While Mr. Weiskopf is unavoidably the focal point of the group, performing the lead vocal and playing acoustic guitar and harmonica as Mr. Dylan does, he is quick to credit the musicians around him. “Everybody that plays in the group brings something of the music that is so important in what Dylan does,” he said. He referred to “all the great players that have joined him over the years,” such as Mark Knopfler and the late guitarists Mike Bloomfield and Jerry Garcia. “Between Klyph and Randy,” he said, “someone can summon one of those voices.”

Text and subtext rule in Judith Hudson’s most recent work. First there was the “Sex Advice Drawings” series, beginning in 2008 and continuing up through the present. Now comes a related “A Midsummer Night’s Dream” on view at Tripoli Gallery in Southampton.

The “Sex Advice Drawings” were a brilliant feminine usurpation of what has been a male-dominated milieu: the off-color joke as art. Richard Prince has made Playboy-related themes and sex jokes his subject matter for decades. It’s fresh and lively to see a woman not only take on the mantle but do it with such brio and her own sense of truth and irony. There is some deep, dark stuff going down, both on the surface and below, but there is more gritty strength here than self-pity or melancholy.

In the new works she uses watercolor to depict flesh and skin in a rich and subtle way. Sometimes pink and dewy, other times more sallow and aged. Often the placement of skin on skin, be it bodies touching or hands or feet, is the subject. As the different series developed, it is clear that she shifted from the low, coarse humor of the modern day to the subtler but no less bawdy classicism of Shakespeare.

As the artist said, “Shakespeare is the master of one-liners, which are funny because they are forever relevant and contemporary. When he wrote ‘truth, reason, and love keep little company together nowadays,’ ‘nowadays’ will always apply.”

Sure it’s all in good fun to be tricked into falling in love with an ass when it’s literally depicted on stage, but what about when it happens more figuratively with devastating emotional consequences? There is a lot of empathy here for human folly, and often the drawings with their bleeding color and the vulnerability of unconscious naked bodies exposed to the elements seem fraught with peril. When that’s not enough, she ups the ante, binding the wrists and ankles of her subjects, placing them in double jeopardy.

There are Puck-like creatures and strange animal beings as well as the languid asses and rather sexy lions. Whole parallel worlds of beasts both fact-based and fanciful become the partners of dreams, and all are teeming with Freudian meaning.

Free association rules the day here. It is a world where Puck as a subject leads to numerous drawings of clowns, and depictions of sleeping nudes spark an interest in more discreet elements of flesh, and even depictions of freckles, a striking contrast between the real and the idealized bodies of the dreams.

The handmade paper these drawings are executed on is rough-edged and an important part of many of them, determining shape and fissures in the surface. The watercolor is deep and sumptuous, the blues a true heavenly midnight and the depth of a lion’s mane a tangle of ambers and caramels. The text floats on top in opaque white blocks or in flowing black cursive. When the pieces lack text, the title helps fill in meaning and dark humor. There is much implied motion here, whether in the turbulent skies or the varied atmosphere around her beasts. The figures, however, remain still.

Dark humor, or even sadness comes out in other ways as well. Her series of “Players,” which are depictions of clowns, has an air of mawkish tragedy. Their made-up faces appear as death masks, no matter how joyful the color. Taking her theme another turn, she ends up with an “Unrequited Love Series” featuring Frankenstein’s monster and King Kong, and no less repugnant.

What are rather fun are the limited edition floor pieces she has commissioned from her drawing. “I know a bank where the wild thyme blows” is an image of an ass rolling in the grass with legs akimbo. It captures pure animalistic sensual pleasure and its placement on the floor to be walked on accentuates its baseness. At the same time, its implied joy at being walked over points to the foibles of human nature.

The exhibition will remain on view through July 13.

Revolution, art, and puns by the dozen mark the premiere of Tom Stoppard’s “Travesties” at the Bay Street Theater in Sag Harbor this week. In the play, Henry Carr, an English consular officer played by Richard Kind, tells of his relationships with James Joyce in the midst of writing “Ulysses,” Tristan Tzara as the Dadaist movement picked up speed, and Lenin at the start of the Russian Revolution. Carr’s life intersected with these big leaguers of the 20th century during World War I in Zurich — or so he claims: Carr’s account includes “accurate memories and sometimes inaccurate ones,” says Michael Benz, who plays Tzara, the nihilist poet.

The play showcases Mr. Stoppard’s innovative writing style as he constructs dialogue and plot that highlight the politics and philosophy of the three 20th-century leaders. The play’s farcical nature and abundant wordplay steers “Travesties” through the waters of Marxism, Dadaism, and Modernism, ultimately pointing to questions of art, politics, art in politics, and politics in art. “Travesties” incorporates Oscar Wilde’s “The Importance of Being Earnest,” bouncing off Wilde’s comedy, mimicking it, and adding to it. Mr. Benz explained that “the play has got a little bit for everybody. There’s the play within a play. There are magic tricks interspliced with soliloquies on the essence of what it is to be an artist.” He laughed, adding, “And I wear a monocle.”

Also appearing in “Travesties” are Carson Elrod as Joyce, Andrew Weems as Lenin, Aloysius Gigl, Isabel Keating, Julia Motyka, and Emily Trask.

The high jinks and hilarity of the production are written into the script — pies in the face, striptease, singing, dancing, adroit rhetoric — but Judith Dolan, the play’s costume designer, emphasized how Gregory Boyd, the director, especially brings the playfulness of the production to life with a balance of attention to performance and design sensibility. She described working with Mr. Boyd as “so much fun. He is always inventing, and so successfully.” Mr. Benz agreed. “Greg is not just a master of the theater and directing, but he’s a master of Stoppard as well.”

Ms. Dolan describes the costumes of the play as “vintage, as well as theatrical. Not Halloweenish, but flippant.” The costumes function as a historical representation of clothing in 1917, but also stitched into them are the ideologies of their wearers. The process of inventing the costumes included “looking at the culture and art of the period as well as what people were wearing in fashionable circles. The characters come from fashionable backgrounds with a real concern for how they look all the time, which makes it fun for when they let their hair down,” Ms. Dolan said. To incorporate the characters’ beliefs into the costumes, she would brainstorm with a collage for each character, very much in the spirit of Dadaism. The collages were satirical, a play on words, and often personal to Ms. Dolan herself.

The costume designer mentioned that each character has a unique identity and style as an artist, making the most salient feature of the play “the joy that it brings to language and the idea of different kinds of artists that exist.” In order to embody these “artists and their language in costume” she said she worked to make Tzara’s clothes “represent the new sensibility of improvisation at the time, with light fabric so as not to confine the actor’s body.” Lenin, “who wasn’t an artist but used images for propaganda,” is often dressed in black and white along with his wife. To capture the “crazy collage of words that Joyce presents, every time he comes in, he always is mismatched.”

Ms. Dolan worked with Mr. Boyd on two productions of “Travesties” prior to this one. She explained that while they would start out recreating the last production, “with a new cast, new things happen — it is the different charm of the actors.” Mr. Benz said they are focused on having fun and not getting “bogged down,” so that they can “maintain clarity of speech, keep it pacey, and find the joy in the play.”

“Travesties” will be staged Wednesdays through Saturdays at 8 p.m., Sundays at 2 and 7 p.m., and Tuesdays at 7 through July 20. Tickets start at $54, with $30 tickets available for those under 30, and free admission to the Sunday matinee for high school and college students.