Outdoor Furnishings

    “Exteriors: The Explosion of Outdoor Furnishings” will open at LongHouse Reserve in East Hampton on May 17 and remain on view through Oct. 11. The largest exhibition in the foundation’s history, it will include outdoor furnishings, including shelters, fabrics, lighting, and materials, from designers and manufacturers from France, Italy, Colombia, Sweden, and the United States.

    With nine distinctive “rooms,” the show demonstrates how outdoor spaces can be transformed to expand indoor living. A sensuous, fortune cookie-shaped lounge made by Johnny Swing entirely from welded quarters, and a Lips loveseat, designed by Colin Selig and fabricated from repurposed propane tanks, are two of the many creations on view.

    Wendy Van Deusen, Jack Lenor Larsen, Sherri Donghia, and Elizabeth Lear have organized the exhibition.

    Visitors can also avail themselves of a sale of textiles and objects from Mr. Larsen’s collection. With prices starting at $100, the sale, which benefits LongHouse, includes art fabrics by famous designers, fine modern quilts, batiks, baskets, and a diverse selection of textiles.

    LongHouse Reserve is open Wednesdays and Saturdays from 2 to 5 p.m. except in July and August, when it is open Wednesdays through Saturdays.

Landscapes at Ashawagh

    “Open Spaces IV,” an exhibition of photographs and paintings by members of Plein Air Peconic, will be on view tomorrow through Sunday at Ashawagh Hall in Springs. The artists of Plein Air Peconic aim not only to capture the beauty of the East End landscape but also to encourage the preservation of the open spaces so important to their work.

    The show includes work by Casey Chalem Anderson, Susan D’Alessio, Aubrey Grainger, Keith Mantell, Michele Margit, Gordon Matheson, Tom Steele, and Kathryn Szoka. An artists’ reception will take place Saturday from 5 to 8 p.m., and a Mother’s Day reception with coffee and muffins will be held Sunday from 11 a.m. to 12:30 p.m.

    A portion of all sales will benefit the Peconic Land Trust.

Animal Shelter Benefit

    “Paws and Reflect,” a show of artwork to benefit the Southampton Animal Shelter, will open Saturday at Richard J. Demato Fine Arts in Sag Harbor with a reception from 6 to 8 p.m. According to the gallery, “This heart-warming compilation of artwork reveals our appreciation and fascination with animals. From the whimsical to the unusual and elegant, these works depict our favorite creatures and raise awareness and needed funds for the S.H.A.S.”

    The artists, who will donate a portion of their sales to the shelter, include Katie O’Hagan, Margo Selski, Mary Chiarmonte, Gail Potocki, Andrea Kowch, Yana Movchan, Haley Hasler, Harriet Sawyer, and Steve Kenny. The gallery will donate 50 percent of its share of the proceeds from sales to the shelter.

    The exhibition will run through June 29.

    “Southampton Blue Book, 1930 to 1960: Photographs by Bert Morgan,” an exhibition chronicling the recreational pursuits of the town’s wealthy summer residents, will open at the Southampton Historical Museum Saturday and remain on view through Oct. 18.

    Born in England in 1904, Bert Morgan immigrated to the United States with his parents at the age of 7. He began his career at 15, syndicating photographs for the Chicago Tribune and the New York Daily News. He started freelancing in 1930 with a camera he purchased for a quarter at a pawnshop. For the next 50 years Morgan moved freely in the inner circles of high society in Southampton, Newport, Palm Beach, New York City, and wherever else the “social set” gathered, gaining access, in part, by promising never to publish an unflattering picture.

    According to Mary Cummings, manager of the museum’s research center, “Patrick Montgomery, who purchased the Bert Morgan archives, worked with us in choosing the approximately 30 photographs most relevant to South­ampton. A highlight for many people will be photographs in the section devoted to the Southampton Riding and Hunt Club, where a young Jacqueline Bouvier was perfecting her horsemanship.” Photographs of the future first lady competing in a local horse show were selected from more than 500 images taken by Morgan of the Bouvier family.

    Morgan also photographed people arriving in casual dress at the Southampton Bathing Corporation, and in more formal attire at the Meadow Club, where they socialized during the evenings. Among his celebrity subjects were Gary Cooper, C.Z. Guest, Diana Vreeland, and members of the Gabor, Duke, and Ford families. His work was published in The Social Spectator, Vogue, Vanity Fair, and Town and Country.

    Photographs of the wedding of Henry Ford II and Anne McDonnell in 1940 are included in the exhibition, as are images from several of the most talked-about debutante parties. Some of the more unusual images were captured at twist parties thrown by Frank Hunter, a tennis professional and business executive. When Hunter purchased his Southampton home during the Cuban missile crisis, he spent $140,000 on a bomb shelter that was a replica of El Morocco, the New York nightclub he patronized for 50 years.

    The Bert Morgan Archive consists of more than 800,000 negatives taken by Morgan and his son Richard at parties, openings, fund-raisers, sporting events, home sittings, weddings, and other functions attended by the rich and famous, including several generations of America’s most prominent families as well as European royalty.

    An opening reception will take place at the museum June 7 from 4 to 6 p.m.

    Hopes and excitement ran high this year for the Guild Hall artist-members show, an annual event that brings the South Fork artistic community together for one of the largest shows in the region. More than 470 artists, the most ever, submitted work to be placed on the walls of the three main galleries, everyone hoping to be recognized by Robert Storr, a former curator at the Museum of Modern Art and the dean of the Yale School of Art.

    Mr. Storr selected William S. Heppenheimer to receive top honors for a totemistic acrylic-on-wood panel painting. Other winners were Julie Small-Gamby for best abstract work, Fran Hand for best representational work, Gary Beeber for best photograph, Robert Tucker for best work on paper, Susan Frame for best sculpture, and Tracy Jamar for best mixed-media work. The winner of the Catherine and Theo Hios Best Landscape award was Pamela Long Nolan. The best new artist award went to Zachary Cohen.

    Honorable mentions were awarded to Deborah Barrett, David Cataletto, Ann Chwatsky, Steven Corsano, Sara Douglas, Anne Drager, Laura Duggan, Suzanne LeFleur, Phyllis Kriegel, Aija Meisters, Alison Milano, Linda Miller, Jeff Muhs, Steven Schreiber, Catherine B. Silver, E.E. Tucker, and LB Volle.

    A Meet the Winners gallery talk will be held in the museum on May 17 at 11 a.m. A lecture by Andrea Cote, a multimedia artist and one of the exhibitors, will be held on May 31 at 3 p.m.

    The Parrish Art Museum in Water Mill unveiled a monumental sculpture by Roy Lichtenstein on its front lawn on Friday and is about to open the first major museum survey of work by Jennifer Bartlett, whose stylistic and thematic innovations have established her as one of the most important artists of her generation.

    The Lichtenstein sculpture, “Tokyo Brushstroke I & II,” is situated close to the Montauk Highway, just west of the entrance gate, and is the first outdoor installation on the Parrish grounds. According to Terrie Sultan, director of the museum, “Having a signature piece like Roy Lichtenstein’s ‘Brushstroke I & II’ and being able to position it the way we did, makes it kind of a beacon and also an announcement. The idea of the brushstroke was interesting to me because we are so much about illuminating the creative process, and the brushstroke is the most profound, fundamental gesture of painting.”

    A long-term loan from the Roy Lichtenstein Foundation, the sculpture has never before been exhibited.

    “Jennifer Bartlett: History of the Universe — Works 1970-2011,” which includes more than 20 artworks that reflect the breadth of her practice, will open Sunday and remain on view through July 13. On Sunday at 11 a.m., Klaus Ottmann, who organized the exhibition for the Parrish and is now curator at large at the Phillips Collection in Washington, D.C., will lead a tour of the exhibition.

    While Ms. Bartlett had her first solo show in New York in 1970 and was included in the 1972 Whitney Annual two years later, it was her monumental painting “Rhapsody,” first shown in 1976 at the Paula Cooper Gallery in SoHo, that cemented her reputation.

    Spanning some 153 feet of wall space, “Rhapsody” consists of 987 one-foot-square steel plates. It is, according to Mr. Ottmann, “one of the most ambitious works of contemporary American art.” “Rhapsody” is not in the Parrish exhibition; it may be seen at the Museum of Modern Art in Manhattan.

    Ms. Bartlett, who has studios in Brooklyn and Amagansett, has continued to alternate between painting on enameled steel plates, which first appeared in her work in the late 1960s, and works on canvas. The Parrish show includes examples of both, as well as two works from 1987, “Boats” and “Double House,” which consist of both painted and three-dimensional representations of their subjects.

    Throughout her career, the artist has also managed to move freely between abstraction and figuration. In an interview with Ms. Sultan, she said that “although I keep them separate in my work, it just seemed stupid to me to even say that there was a distinction between abstract art and figurative art. I think they are one and the same.”

    “History of the Universe” begins in the 1970s with the artist’s monumental plate paintings, including “237 Lafayette Street,” and extends into the 1980s with, among other works, “Pool,” a three-panel cinematic narrative painting. Ms. Bartlett’s work from the 1990s is represented by selections from “Air: 24 Hours,” a personal series that documents the passage of time, and the multi-paneled “House Paintings.”

    In 2004, she began her “Word Paintings,” which incorporated her own writings. On view from this series is the 65-plate painting “Twins,” an homage to her friend the artist Elizabeth Murray. More recent works engage Ms. Bartlett’s recurring themes of houses, gardens, and water, and include the vast double-perspective beach piece “Amagansett Diptych #1,” from 2007-8.

    Ms. Bartlett was born in Long Beach, Calif., and educated at Mills College and Yale, from which she received B.F.A. and M.F.A. degrees. Her work is in the collections of major museums throughout the world, among them MoMA, the National Gallery of Australia, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Philadelphia Museum of Art, and the Tate Modern. A 104-page fully illustrated catalog, published by the Parrish and distributed by Yale University Press, accompanies the exhibition.

    The Hamptons International Film Festival is known primarily for its annual four-day showcase event held in October. Yet for many years, the festival has spread out its calendar to include summer screenings of documentaries and narrative films, projects in the local schools, and a springtime screenwriters lab. The latter brings established professionals to East Hampton to work with writers early in their careers and bring scripts to fruition, with four in recent years making it to production and, in some cases, winning awards.

    Such a lab was held from April 11 to 13 with the writers of four scripts, chosen out of 220 submitted, meeting with mentors for two all-day intensive sessions. By the end of the first day, the atmosphere at c/o the Maidstone, which was their home base for the weekend, was casual and familial. Participants relaxed with a beer while David Nugent, the festival’s artistic director, played with his baby daughter in the lobby and Anne Chaisson, its executive director,  walked with her husband through the backyard with dog in tow, tired but happy after a pre-dinner workout.

    Susan Stover, a mentor, said the lab and its aims were an extension of the New York independent film community. “Film is a collaborative medium, and to be called upon by the festival to benefit its program and writers is part of giving back,” she said. “I like teaching. It’s a hard industry, a hard business in many aspects. It’s rewarding to help new or young people starting out.”

    Ms. Stover’s credits include producing the films “High Art” and “Laurel Canyon.” She was the mentor for the two writers selected whose scripts did not have a specifically scientific theme, Christina Choe, whose “Nancy” is about a serial imposter, and Michael Sladek, who wrote “Phantom Limbs,” an adaption of a novel by Timothy Schaffert.

    Through the Alfred P. Sloan Foundation, the lab provides grants for scripts that do incorporate scientific concepts or themes. The two screenplays that made the cut this year were “Televisionaries,” a story from Evan Schwartz about the invention of television, and “Palimpsest,” from an award-winning short film at the Sundance film festival about a designer of optimal living spaces who meets a client whose needs he cannot address, written by Ben Nabors and Michael Tyburski. The other mentors were Jamal Joseph, Lawrence Konner, and Robert Siegel.

    Mr. Nugent said he saw the lab as one way the festival could invest in the future of filmmaking. The mentors, he explained, come from a variety of disciplines — writing, directing, producing — and give the participants a broader view of the industry.

    Ms. Stover, for example, is a producer. “These scripts seem like projects that are going out to be looked at in the next few months,” she said. Such concerns as “is this too big, is this right, would this person be good for it” were the kinds of questions she was addressing.

    For her writers, she had “the script and a set of notes. I was always interested in where the idea came from and where it is going. It was more about the story first, then the script.” She structured her time with them from the broader to the narrower technical aspects, always trying to frame everything, she said, in a constructive way. “Screenplays are hard. There’s no reason to undermine what they’re doing.” In the end, she said they had “nice, sprawling conversations‚” about art, film, archetypes, characters, and allegory, among other things.

    As a writer of books, though not screenplays, Mr. Schwartz said one of the hardest things was to find people to read the script and give constructive feedback. “When you give it to friends, that’s the worst. They will tell you things they think you want to hear and are not skilled in screenwriting. They can’t elevate the script.”

    With the co-writers Mr. Nabors and Mr. Tyburski, he worked with Mr. Konner and Mr. Siegel. Mr. Konner’s film credits include “Jewel of the Nile,” “Mona Lisa Smile,” and “Planet of the Apes,” and, for TV, “The Sopranos‚”­ and “Boardwalk Empire.” Mr. Siegel is both a screenwriter and director who wrote the script for “The Wrestler”; he was for several years editor-in-chief of the satirical publication The Onion.

    The writers worked with one of their mentors in the mornings and the other in the afternoons. “They were two very different sessions,” according to Mr. Nabors. They found themselves dealing with basic concerns such as structure in one session and with character development and “the heart of the film, i.e. what the film is about‚” in the other. And, they were given homework by Mr. Konner.  “We have a two-week deadline on our character development work,” Mr. Tyburski said.

    Mr. Schwartz said his mentors disagreed about the structure of “Televisionaries‚” with one urging him to get inside each scene and make it stronger through its characters. The other said the structure was fine; if he started tinkering with it he would run the danger of ending up with a big mess. But each of them, he said, offered “timeless principles of storytelling,” helping in a way that only teachers can.

    “I’m curious as to how they’re going to handle contradictory advice, as each person will bring something different to it,” Ms. Stover said. “In my experience developing projects, there is always someone who will make a comment on the script, but you have to know when you feel it’s right.” She suggested, laughing, that the process dated back to the classical days of Hollywood, when even “Citizen Kane” came back with notes: “You have to change the ending. What is this fire with the sled? You can’t burn the kid’s sled.”

    With a number of short films to her credit, Ms. Choe may be the farthest along in her script, having spent a week in Venice last year in an intense workshop environment as part of the Biennale College cinema program. She has an M.F.A. in writing and directing from Columbia. Her short films have screened at film festivals including South by Southwest, the Los Angeles Film Festival, and the Aspen Shorts Fest.

    She gave her “elevator pitch” for the film “Nancy,” which is her first feature, calling it “a narrative version of ‘The Imposter‚’ which began as a New Yorker article, meets ‘Catfish’ ” — two recent documentaries dealing with people pretending to be others. While acknowledging that she hated making those kinds of pat, distilled plot summaries, “There is some truth to it,” she said.

    The plot comes from her fascination with imposter stories. While there has been a lot of focus on those lately, stemming from the relative ease of assuming an online persona, Ms. Choe said most documentary films have not delved into the psychological motivations the way she can with a narrative film. Her main character is a 40-year-old serial imposter who, out of boredom and a need to escape, creates a fake blog and “catfishes” a lover, to disastrous effect.

    She was grateful to participate in the lab, she said, not just to meet new people in the field, but to have a chance to recreate briefly her graduate school experience. Echoing others, she said, “Now that I’m not in film school, it’s hard to get critical notes.”

    Mr. Sladek, whose work was screened at a previous Hamptons Film Festival, ran into Mr. Nugent at an event and was encouraged by him to turn in whatever he was working on. He has written both original and adapted screenplays and found that bringing an adaptation to this environment was very helpful to what he considers a challenging medium. “Since you can’t make the whole book, you have to pare it down to its essence,” he said. “Time, place, and character have to be simplified for film. You’re dancing away from the text, but you can’t be too far, or too close.” While working with someone else’s story, particularly in a memoir, which is his other project, “at a certain point, it has to become yours.”

    Being sequestered in a room with someone for several hours encouraged straight talk, he said. “It’s hard to get that with colleagues and friends, and it’s a great way to meet folks.” The imprimatur of the film festival is enormously valuable, he added. “That someone took my script and weeded it out of thousands of projects, going on to say ‘it’s worth looking at’ — that’s huge.”

New at Halsey Mckay

    The Halsey Mckay gallery in East Hampton will open a show of paintings by two artists, Ann Pibal and Nathlie Provosty, and a solo exhibition of paintings by Steven Cox on Saturday.

    Both Ms. Pibal and Ms. Provosty, who have homes in Brooklyn, use line, form, and sumptuously worked surfaces to create distinct visual languages.

    Mr. Cox, a Scottish artist having his first solo show in the United States, uses horizontal and vertical repetition of color, pattern, and layering to explore the possibilities of the linear stripe.

    An opening reception will be held Saturday from 6 to 8 p.m. The exhibitions will remain on view through June 3.

Photography Profusion

    Photography aficionados will have plenty to choose from this weekend. Ashawagh Hall in Springs is hosting the annual spring exhibition of Photographers East on Saturday and Sunday, with a reception on Saturday from 5 to 8 p.m. Photographs by Bill Alves, David Gilmore, Randy Hendler, David Johns, Loretta Lobec, Yvette Milavec, Bruce Milne, Joseph OHaire, Chris Randall, Joan Santos, Dainis Saulitis, and Fred VanderWerven will be on view.

    The Tulla Booth Gallery in Sag Harbor will present “Spring Preview,” a forecast of its summer exhibitions, from tomorrow through May 28. The photographers Daniel Jones, Karine Laval, Blair Seagram, Tulla Booth, Herb Friedman, Eric Meola, and Stephen Wilkes will be represented by new and classic works. A reception will be held on May 10 from 6 to 8 p.m.

“Freestyle” in Amagansett

    “Freestyle,” an exhibition of work by Beth Barry, a gallery member, and Lieve Thiers, a guest artist, will open tomorrow at Crazy Monkey Gallery in Amagansett and run through June 2. The show’s title suggests the playful nature of their paintings, which, while abstract, are inspired by nature.

    A group show of art by the gallery members Andrea McCafferty, Barbara Bilotta, Daniel Schoenheimer, Jim Hayden, Mark E. Zimmerman, Bobbie Braun, Lance Corey, June Kaplan, Ellyn Tucker, Beth O’Donnell, Bo Parsons, Richard Mothes, and Melissa Hin will also be on view.

    A reception will take place May 10 from 5 to 7 p.m.

The Shaped Canvas

    The Luxembourg & Dayan Gallery in Manhattan will open “The Shaped Canvas, Revisited” next Thursday with a reception from 6 to 8 p.m. “The Shaped Canvas” was a 1964 exhibition at the Guggenheim Museum that defined a key feature of abstraction at that time.

    The current show, which will remain on view through July 3, examines the relationship of the shaped canvas to Pop Art and Arte Povera, and posits the enduring vitality of the form. Among the artists represented are Lynda Benglis, Mary Heilmann, Ellsworth Kelly, Richard Prince, James Rosenquist, and Frank Stella.

Dora Frost Drawings

    “Heads and Hands: Men of the 20th Century,” an installation of black-and-white portrait drawings by Dora Frost, who lives in Southampton and West Palm Beach, Fla., is on view at the 215 Bowery gallery in Manhattan through Saturday. The 60 pen-and-ink drawings feature men from their teens through their 60s who were important contributors to the arts, sciences, and public life.

    Among Ms. Frost’s subjects are William Burroughs, Charlie Chaplin, Langston Hughes, Henry Miller, Raoul Dufy, Francis Bacon, Alfred Lunt, and Alistair Cooke. A closing reception will be held Saturday from 2 to 6 p.m.

    “The play’s the thing, wherein I’ll catch the conscience of the king,” Hamlet tells us in the ultimate Shakespearean tragedy. And players for the play are wanted, according to Morgan Vaughan, who will direct the Round Table Theater Company’s production of “Hamlet” at Guild Hall’s John Drew Theater in East Hampton this fall.

    All parts are open, with the exception of the title character, which will be played by Tristan Vaughan, and Gertrude, to be played by Dianne Benson.

    Actresses should take note, as Ms. Vaughan is planning a nontraditional approach to some of the supporting roles. “I would encourage women who are really strong to audition,” Ms. Vaughan said.

    Men and women alike should arm themselves with a two-minute Shakespearean soliloquy or monologue, along with a contrasting contemporary two-minute piece. Ms. Vaughan asks those auditioning to make choices in their material that display the actor’s versatility.

    Don’t have a monologue by the Bard in your hip pocket? Not to worry, Ms. Vaughan said, you can read from the text itself. The goal, she said, is to meld together a cast able to vocally handle the demanding iambic pentameter structure of Shakespeare’s language.

    The company will be a mix of members of Actor’s Equity Association and non-Equity actors. Actors based in the city are encouraged to attend, though they should bear in mind the need to find housing for the production, which goes into rehearsal in October.

    Most of all, Ms. Vaughan is hoping for a strong local turnout. “Anybody and everybody should come out,” she said. The auditions are being held at Guild Hall Sunday from 4:30 to 7:30 p.m., and Monday from 6 to 8 p.m.

    Normally, auditions would be held closer to the actual performance dates in November. But life on the East End is anything but normal during the hectic summer season. It is the goal of Mr. and Ms. Vaughan to have their cast in place before the summer begins. “There is no window of time in the summer,” Ms. Vaughan said. Casting early will also have a second benefit: allowing cast members, especially those new to Shakespeare, more time to familiarize themselves with the text before rehearsals begin.

    The Vaughans are a husband-and-wife team that heads up the Round Table Theater Company, a not-for-profit company aimed at bringing the classics to the East End. He is the artistic director, she carries the title of producing artistic director.

    The couple teach Shakespeare at Guild Hall every spring and fall in a program called Speaking Shakespeare. It was in one of these classes that they discovered their Gertrude, Ms. Benson. She was working on the famous closet scene, in which Hamlet confronts his mother, with Mr. Vaughan. “She was stunning,” Ms. Vaughan said.

    The extra lead time will also give the couple room to fine-tune the artistic direction of the production. “Everyone asks, ‘When are you setting it?’ ” Ms. Vaughan said. In various productions over the years, “Hamlet” has been set anywhere from medieval Denmark to the modern world. Ms. Vaughan is keeping the answer to that question under her cap, for now.

    Stage combat is a key to “Hamlet.” In particular, the climactic duel between Hamlet and Laertes, coming as it does at the end of a long play, is a particular challenge Mr. Vaughan is looking forward to. “I’m at a point where I can do the fight,” Mr. Vaughan said about the physically challenging role, “and still make sense of the verse.”

    The company, which recently qualified for not-for-profit status, is planning a fund-raiser in June, the details of which are still being worked out, Ms. Vaughan said.

    The Hamptons Take 2 Documentary Film Festival will present the East Coast premiere of “Penny & Red: The Life of Secretariat’s Owner” on Sunday at 2:30 p.m. at Bay Street Theatre in Sag Harbor. The film, directed by John Tweedy and narrated by Diane Lane, tells the story of Penny Chenery and Secretariat, her champion thoroughbred, also known as Big Red, who won racing’s Triple Crown in 1973.

    Prior to the screening, at noon, a “triple crown” benefit will be held at the American Hotel in Sag Harbor. A three-course lunch, a silent auction of Secretariat memorabilia, and a film ticket can be had for $125, which will benefit the Secretariat Foundation, the Amaryllis Farm Equine Rescue on the East End of Long Island, and HT2FF. Mr. Tweedy and William Nack, a sports journalist who wrote the book “Secretariat: The Making of a Champion,” will attend the event.

    Ms. Chenery learned to ride horses at the age of 5, but the path to ownership of two championship thoroughbreds, Riva Ridge and Secretariat, was circuitous. Her father, Christopher Chenery, was a utilities executive who founded Meadow Stable in Virginia in 1936. It was not until 1969 that Ms. Chenery took over the stable. Prior to that, she earned degrees from Smith College and the Columbia Business School, married in 1949, and for 19 years lived in Denver and raised four children.

    When her father’s health began to fail and the stable started losing money in the late ’60s, her siblings wanted to sell it, but Ms. Chenery was determined to fulfill her father’s dream of winning the Kentucky Derby. Within two years of becoming president of the stable, she had returned it to profitability. In 1972, Riva Ridge won the Derby and the Belmont Stakes, and a year later Secretariat won the Triple Crown.

    In addition to never-before-seen footage of Secretariat, the film also illuminates Ms. Chenery’s efforts to create new roles for women in the sport of horse racing. The candid documentary weaves together previously unreleased photographs and films from family archives with intimate conversations between Ms. Chenery and Mr. Tweedy, her son, an attorney who is also an award-winning filmmaker.

    Admission to the screening is $15 at the door. Mr. Nack will introduce the film, and a conversation between him and Mr. Tweedy will follow it.

    In celebration of the Derby, which will be run on Saturday, mint juleps will be available at the theater’s lobby bar, and filmgoers will be able to bid on silent auction items including V.I.P. passes to the Hampton Classic, clubhouse reserved seats for the Belmont Stakes, a collectible 1973 Kentucky Derby julep glass, and racing photographs signed by Ms. Chenery and Ron Turcotte, Secretariat’s jockey.

    HT2FF has also announced that it is now accepting documentary film submissions for the 2014 festival, which will be held at Bay Street Theatre from Dec. 4 through Dec. 7. More information is available at ht2ff.com.

    Bay Street Theatre is holding its third annual spring benefit, Curtain Up!, at Joe’s Pub in New York City on May 12 from 6 to 8 p.m. The event will honor Bonnie Comley and Stewart Lane, and Pia and Jimmy Zankel, and will be hosted by Scott Schwartz, the theater’s new artistic director.

    A 6 p.m. cocktail reception will be followed at 7 by a preview of Bay Street’s 2014 mainstage season, featuring presentations and performances by the stars and creators of the new productions, which include “Conviction,” a drama by Carey Crim having its world premiere; “Travesties,” Tom Stoppard’s classic comedy, starring Richard Kind, who will attend the benefit, and “My Life Is a Musical,” another world premiere, with book, music, and lyrics by Adam Overett.

    The program will also include a tribute to the honorees. “Their generous support of fellow artists and theaters like ours impacts audiences everywhere, from regional theater to Broadway,” said Tracy Mitchell, executive director of Bay Street.

    Tickets, priced at $150 and $250, may be purchased by calling the Public Theater box office at 212-967-7555. V.I.P. tickets, $500, may be reserved by calling Diana Aceti at 725-0818. More information is available at baystreet.org.

    WPPB 88.3 has added three new programs to its schedule. “TED Radio Hour,” based on talks given on the TED stage and hosted by Guy Raz, will be broadcast every Sunday from noon to 1 p.m. Each show is centered on a common theme — the source of happiness, crowd-sourcing innovation, power shifts, inexplicable connections — and injects soundscapes and conversations that bring these ideas to life.

    “Travel With Rick Steves,” a guidebook author and travel television host, is a talk show with guest experts and questions from travelers. In recent months, Germany, Cuba, West Africa, Turkey, Peru, and Scotland were among the many locales featured on the program. It airs Sundays from 10 to 11 a.m.

    “Bookworm,” hosted by Michael Silverblatt, showcases writers of fiction and poetry, both established and emerging, who are interviewed “with insight and precision.” The goal of the program, which airs Sunday mornings from 9 to 9:30, is to illuminate what makes a writer a writer and to inform listeners about literary culture.