With her new album, “I Love Being Here With You,” Judy Carmichael has taken her career in a new, yet familiar, direction.

    The stride pianist’s exemplary musicianship, heard on albums including “Old Friends,” “Basie Called Her Stride,” and “High on Fats and Other Stuff,” and her rich voice, heretofore mostly heard on her radio show “Jazz Inspired,” combine in a new way. On “I Love Being Here With You,” released on Tuesday and available at her Web site, judycarmichael.com, Ms. Carmichael, who lives in Sag Harbor, sings on all 11 tracks, representing the work of composers including Cole Porter, Rodgers and Hart, and Duke Ellington. She does not play the piano.

    Ms. Carmichael will sing, and play the piano, at a champagne lunch recital on Sunday at noon at the American Hotel in Sag Harbor. Proceeds from the recital, in which Chris Flory and Harry Allen will accompany her on guitar and tenor saxophone, will be donated to the artist’s foundation, Jazz Inspired, Inc. Tickets are available at her Web site. The $150 price includes the champagne lunch, recital, tax, and tip, and is tax-deductible.

    In a telephone interview from her hotel in Nashville, where she was set to perform at the McAfee Concert Hall at Belmont University last week, she mused about the complementary and contrasting elements of instrumental and vocal performance.

    “The main thing is it’s tied into another direction of music that I really like,” Ms. Carmichael said of singing. “I wanted to sing some things I don’t play, in a different style from what I play. It was great to think about nothing but singing.”

    Of her vocal influences, “I always liked people that sang the melody and interpreted the lyrics and told the story,” Ms. Carmichael said. “I was obsessed with old movies, so I was a big Fred Astaire-Ginger Rogers fan, and all the musicals of the era.” Astaire “had great lyrics and interpreted them well.”

    Peggy Lee is among her favorite jazz musicians, a “super-cool instrumentalist who happens to be singing,” while Shirley Horn and June Christy are also counted among her influences. “Basically, the ones that swing and are very connected to the emotion of it,” she said of her favorite singers.

    The road to singing was long, difficult, and carefully tread. While in high school, her vocal cords hemorrhaged, and during college a few nodules were removed. “So I never even tried to sing — I didn’t think I could,” she recalled. Five years ago she began singing, privately, and on her previous release, “Come and Get It,” she sang on three tracks. “I thought I could do it, but wanted people I really respect to say yes, you should continue with this.” She played a gig at Feinstein’s in New York, and queried “a handful of musicians I could trust, that I knew would tell me the truth. They all said, ‘You have to do it, you should go forward.’ ”

    Recording “I Love Being Here With You” at Nola Studios in New York, where “Jazz Inspired” is also taped, Jim Czak, an engineer, provided additional guidance. “He was very encouraging, but also talked about some strategies while in the studio — not stylistically, but how one records vocals well: How other people recorded, the pacing of how they did it,” Ms. Carmichael said. “I learned a lot from him.”

    Earlier in her career, her prowess on the piano surprised and impressed many jazz legends, some of whom championed her abilities and opened doors to wider recognition. “I knew Sarah Vaughan, and spent a lot of time with her in my 20s,” she said of the late singer. The drummer Harold Jones, who performed on Ms. Carmichael’s first record, played one of her recordings for Vaughan, with whom he also performed. “She got up and started dancing to it,” Ms. Carmichael said. “She was very nice, encouraging, invited me to parties at her house.” She called Vaughan “one of the greatest improvisers I’ve ever heard. Every time she went out it was different.”

    At her first jazz festival, Ms. Carmichael remembered, Carmen McRae heard her sound check and demanded that “the guy playing stride piano” be brought to her. “She looked at me, a little irritated, and said, ‘What do you want?’ She thought I was a big guy. She loved that here was this skinny blond girl. And she was known for being cranky, but with me she was really supportive.”

    These African-American artists, Ms. Carmichael felt, “loved that I broke the stereotype. I think they had experienced so much prejudice themselves that they loved watching all the preconceived notions, when people would meet me, and proving them wrong. So they became big supporters.”

    Singing, the musician said, is a point of pride, and some of the 20th century’s most revered vocalists were in fact exceptional instrumentalists. Vaughan, she noted, had been a second pianist for Earl Hines. Nat Cole was a pianist, and Ella Fitzgerald was said to be “a burning harmonica player.”

    “Usually, you can make a living in jazz as a bad singer more easily than as a great instrumentalist,” she said. “I didn’t want to be just another instrumentalist who was an okay singer, or be perceived as doing it for commercial reasons, which I am not.”

    Ms. Carmichael plans to perform some songs from “I Love Being Here With You” at Sunday’s recital, which will support both her radio show and educational programs. On “Jazz Inspired,” which is also available as a podcast from Apple’s iTunes Store, Ms. Carmichael interviews performers and other creative professionals ranging from the singer Stacey Kent and the late pianist and radio host Marian McPartland to Seth McFarlane, creator of animated television shows including “Family Guy” and “American Dad.”

    “I wanted to do something different from usual music shows and keep me interested too,” Ms. Carmichael said. The show is also “a way to bring people into jazz that might not be familiar, and talk to a broad range of creative people about inspiration and creativity. I’ve gotten really well-known people who don’t have to do a show and love having a conversation with another artist, and also get to feature people who would never get an hour on NPR but should, because they’re tremendously accomplished.”

    “Jazz Inspired,” she said, is downloaded five to six thousand times each week. Wearing many hats — producer, executive producer, fund-raiser, editor, and hostess — has been both challenging and rewarding. “Nobody tells me who to have on the show,” she said. “It’s harder in some ways because I don’t have a bigger backing, but I have a lot more freedom.”

    The Hamptons International Film Festival’s Rowdy Talks series kicked off Friday morning at Rowdy Hall in East Hampton with a conversation between Barbara Kopple, a two-time Academy Award-winning filmmaker, and Julie Anderson, executive producer of documentaries and development for WNET/Thirteen. Perhaps best known for “Harlan County USA” and “American Dream,” which earned Oscars for best documentary feature in 1977 and 1991, Ms. Kopple was in East Hampton for festival screenings of “Running From Crazy,” her new documentary about Mariel Hemingway and the Hemingway family’s history of mental illness and suicide.

    Both Ms. Kopple and Ms. Anderson grew up in Scarsdale, and both laughed at the fact it was once a source of shame for them. Ms. Kopple said that when she was making “Harlan County USA,” about a coal miners’ strike in southeastern Kentucky, “I could see the headline: Scarsdale girl goes to the coal fields. I couldn’t think of anything worse. So instead I told people I was from Shrub Oak, N.Y., where my grandparents had a place.”

    Recalling the experience of “Harlan County,” Ms. Kopple said it was the most difficult film of her career, because it was her first, and because nobody believed in her. It was difficult to get funding, and her friends were skeptical about the project. Once in Kentucky, “Life in the coal fields wasn’t that great to begin with.” Soon after her arrival, one of the union organizers opened a suitcase and asked her which gun she would like. When she demurred, he insisted. “So I just took the smallest one I could find,” she said. In addition, the local women didn’t trust her and her crew at first, thinking they were perhaps working for the coal company.

    One morning the crew was supposed to be at the picket line at 5 a.m. Driving down a mountain in the rain, their car flipped over. “We had promised to be there,” recalled Ms. Kopple. “So we got our gear out and left the car and walked all the way to the picket site.” After that, they were accepted. “News travels fast in the coal fields,” she explained. During the shoot, a company foreman killed a miner, and semi-automatic carbines were fired at the filmmakers and miners. “It was challenging, but when you’re in your early 20s you think you’re going to live forever.”

    Ms. Anderson asked the director about making a film not of her own conception. “I love it,” Ms. Kopple said. “Because it’s often something I never would have thought of.” One example was “Fallen Champ: The Untold Story of Mike Tyson,” which she produced and directed for NBC.

    “The heavy thing in that film for me,” the filmmaker said, “was finding Desiree Washington, whom Mike Tyson had been convicted of raping. She had hidden herself, so I hired a private detective to find her, and he did. But instead of bothering her, I decided to interview her father, who told me everything I needed to know, without my having to intrude on Desiree. There’s got to be a lot of trust, and a lot of responsibility, when you’re dealing with people’s lives.”

    Two years after completing the film, she found herself staying in a hotel on the same floor as Mr. Tyson. When they ran into each other she was anticipating a less than enthusiastic reaction, but he took the filmmaker in his arms, swung her around, and said, “I loved it! Can I get some copies?”

    “Wild Man Blues,” a documentary feature on Woody Allen’s New Orleans Jazz Band’s successful tour of France, Spain, Italy, and England, was another interesting project. “All my feminist friends said do not do this film. But I said, ‘Are you crazy? Of course I’m going to do this film!’ I went to talk to Woody and his sister, Letty. I said I was going to get everything, and that Woody would have to let me into his world. He said, ‘No problem.’ And he was true to his word.” One of her favorite experiences during the film was going with Mr. Allen and his sister to meet their parents. “What I learned was, even if you’re Woody Allen, when you go home, you’re only 12 years old.”

    “Running From Crazy” came about when a friend of Mariel Hemingway’s who works for Oprah Winfrey asked Ms. Kopple if she would consider making a film about Ms. Hemingway and the Hemingway family. At first, when the idea was proposed to Ms. Hemingway, she reportedly opposed it because she felt her extended family was “too nuts.” She agreed to meet with the filmmaker, however, and they felt so comfortable with each other that the project proceeded. “Mariel set no parameters,” according to Ms. Kopple. The most unexpected event was the discovery of 43 hours of never-before-seen footage of Ms. Hemingway’s sister Margaux, a model and actress who committed suicide at the age of 43. It was found at Minnesota’s WPA Film Library, a leading source of stock footage. “I was ecstatic beyond belief. Margaux was larger than life; the camera loved her.”

    The film combines extended footage of Margaux Hemingway, old family movies and photographs of their father and mother and their grandfather Ernest Hemingway, extended and intimate conversations with Mariel Hemingway, and documentary footage, to create a nuanced portrait of a complex, troubled family, and the daughter and grandchildren who have weathered the familial storms.

    Ms. Kopple has two films in the works. One is about The Nation magazine on the occasion of its 150th anniversary. The other — talk about high contrast — is a portrait of the soul-singer Sharon Jones and her band the Dap-Kings. Ms. Jones was diagnosed with Stage 1 bile duct cancer in June. “She’s a beautiful spirit,” Ms. Kopple said of the singer, “and I’m very happy to be working with her. It’s not a film about cancer. It’s a film, I hope, about a comeback.”

    It is funny, but I had to be reminded this week that Robert Dash wasn’t an abstract artist, not in the nonobjective sense anyway. The inveterate gardener, writer, and artist left us last month after a long illness, but his legacy in Madoo, his residence and conservancy, and his artwork, as well as a quite lengthy catalogue of columns he wrote for The Star over many years, will continue.

    At the Drawing Room gallery in East Hampton, Dash’s most recent pastels are on view and they are quite abstract. One can still sense the landscape they were taken from, but the artist once said all of his landscapes were extrapolations from memory, their compositions taken from the sense of a place with a dollop of artistic fancy.

    From earlier years, that recipe would have translated into more of a straightforward presentation of recognizable sites rendered in generalized daubs and planes of color and light. The work I had seen and begun to associate with him were his latest works, spied either at Spanierman Galleries in New York or on his studio walls in recent winters when attending lectures there. These were far more generalized and intuitive.

    The “Blue Hill” pastels at Drawing Room are even further removed from reality, taking what appears to be a single or at least limited vantage point. The source, according to the gallery, is the “rocky shoreline of Blue Hill Bay” in Maine, where Dash committed the cliffs and vistas across the bay to memory. The resulting images are referential, but also a clear departure.

    They are rather dynamic images, made more poignant and ecstatic by their execution at the dusk of an artist’s life. There is a sense of a hand and eye needing to fill the page with an expansive vision. Like Mont Sainte-Victoire for Paul Cezanne, also chosen as subject matter later in the artist’s life, Blue Hill becomes not just a landscape but a muse and icon, yielding infinite variety within a diminished visual range.

    Coloration can be straightforward, as in “From Blue Hill II” from this year, which appears to be inspired by a sunny day with the blue sky reflected in the water, and its possible pendant, “From Blue Hill III,” drawn in more somber tones and grays from an overcast one. Contrast both with Number I, where yellows, reds, blues, blacks, and greens comprise the setting, or Number IV, where the rendering in reds and yellows is most expressionistic. Number IV is also very granular and crunchy; the red brings out the bite in the rocks.

    He chose antique rag paper in beige and gray as supports for the pastels. Those executed on the gray paper tend to be the livelier of the works, bringing more contrast into play. Yet my favorite has to be Number VI. The piece is positively on fire, though not in the literal way of the previously described work. Here, the rendering is most naturalistic in hue, but there is a purity that makes it electrically charged. The atmosphere crackles. Perhaps it is because of this work that the other beige-based ones seem so, in fact, beige. But my verdict is no, they are more wan and hazy just because they are.

    What is lovely about the show is how much it offers from so apparently little. The installation shows a real feeling for what pieces should hang together regardless of their chronology. Taking a spin multiple times around the single room with an additional work in the window yields fresh perspectives and correlations. It’s a show worth visiting more than once to view the art as well as to ponder the contribution of Dash to the greater artistic world.

    Chuck Holtzman has the same measure-taking feel as an exhibition. Here, the Boston-based artist is contrasted with himself, taking sculptures he did in the early 1980s and recent works on paper as a snapshot and larger examination of his career.

    The particular works chosen often seem to be directly related, as if the drawings were a kind of two-dimensional unraveling of the planar sculptural pieces. I like this. It’s elemental and obvious on one level, but it stops the viewer and opens the eyes to the process of perception in a lively way. On closer inspection there is not much cohesion to do a side-by-side comparison, but the suggestion of it is enticing nonetheless.

    The black-and-white ink and watercolors are rich in tonality and lively in their geometric precision. Their angular purity on the one hand makes their more expressive cousins seem precarious and exciting in comparison, each complementing the other in an enriching, but not essential symbiosis.

    Both shows are on view through Nov. 4. 

Miller at Four Seasons

    Steve Miller, an artist who divides his time between New York City and a renovated potato barn in Wainscott, created an installation at the Four Seasons one night last week. The “one-night stand with Philip Johnson,” the architect who designed the restaurant, consisted of work from his series about the Amazon entitled “Health of the Planet.”

    “The forests of the Amazon are the lungs of our planet,” Mr. Miller said. “This project gives Brazil a medical checkup by taking X-rays of the plants and animals of the Amazon.” Images from the series were projected on the ceiling of the bar and installed as light boxes and furniture around and in the pool.

    “When art and science intersect, it changes the context, beefs up the scale, and alters responses to imagery in unexpected ways. Images of the smallest of things become images you can get lost in,” the artist has said. Mr. Miller has exhibited worldwide, with recent solo shows in Rio de Janiero, Switzerland, and Washington, D.C.

John Gruen Interview

    Happen to be in Manhattan tonight? John Jonas Gruen, photographer and critic, and Deborah Rothschild, former senior curator of modern and contemporary art at the Williams College Museum of Art, will be there as well, to discuss life in the Hamptons during the mid-20th century.

    They will speak at 6:30 p.m. at the Susan Eley Fine Art gallery, 46 West 90th Street, in conjunction with Mr. Gruen’s current exhibition there, “Young in the Hamptons.” Mr. Gruen has been an integral part of the East End’s artistic community since the ’50s, and his photographs, especially those of artists, constitute a singular record of that time and place.

    In an e-mail announcing the talk, Mr. Gruen said, “I plan to tell all.”

Pollock-Krasner Symposium

    The Pollock-Krasner House and Study Center is sponsoring a daylong symposium at Stony Brook Manhattan on Nov. 8, for which advance registration is required.

     “Art From the Ground Up: The Protection of Cultural Heritage Through Connoisseurship, Conservation, and Authentication” will include five lectures, each of which will be followed by questions, with closing remarks by Patricia Cohen, an arts reporter for The New York Times. A reception will follow.

    During the morning session, Francis V. O’Connor, an independent scholar who has written extensively on Jackson Pollock, will discuss the role of the educated eye in determining authorship of artworks: connoisseurship as the first line of defense against forgery. James Hamm, professor of paintings conservation at Buffalo State College, will review case histories involving advanced analytical techniques, and forgery in the 21st century will be the subject of a talk by Jeffrey Taylor, assistant professor of arts management at Purchase College.

    After a lunch break, Colette Loll Marvin, founder and director of Art Fraud Insights, will discuss her research on fakes. David L. Hall, an attorney who specializes in art and museum law, will speak on the investigation and prosecution of cultural-property crimes. Ms. Cohen’s concluding remarks will address the symposium’s issues from the perspective of a journalist.

    Admission to the symposium is free. Registration is by phone at 324-4929 or by e-mail to [email protected].

    The Hampton Theatre Company in Quogue opens its 29th season tonight at 7 with Jon Robin Baitz’s “Other Desert Cities,” a finalist for the 2012 Pulitzer Prize for Drama and winner of the Outer Critics Circle Award for outstanding new Off Broadway play.

    Set in Palm Springs, Calif., during the 2004 Christmas holiday, the play centers on the Wyeth family and the reaction of Polly and Lyman, both Republicans working in show business, to their liberal daughter Brooke’s announcement that she is about the publish a memoir that will reveal a tragic event in the family’s past.

     Morgan Vaughan of East Hampton stars as Brooke, and Vay David, also from East Hampton, plays Silda, Brooke’s liberal aunt and a recovering alcoholic. Diana Marbury, the theater company’s artistic director, has the role of Polly, while Craig Braun will play Lyman Wyeth.

   The production, which is directed by Sarah Hunnewell, will run through Nov. 10 at the Quogue Community Hall on Jessup Avenue, with shows at 7 p.m. on Thursdays and Fridays, 8 p.m. on Saturdays, and 2:30 p.m. on Sundays. Tickets cost $25, $23 for senior citizens (except Saturday), and $10 for students under 21.

    The company has also announced open auditions for two roles in “Heroes,” Tom Stoppard’s translation of the Gerald Sibleyras play about three hospitalized World War I veterans. The roles are Henri and Philippe, both men in their 50s. Auditions will be held on Nov. 3 and Nov. 4 from 6 to 8 p.m. at the Quogue Community Hall. Readings will be from the script. Monologues and appointments are not necessary. Rehearsals will begin the first week of December, with performances scheduled to begin Jan. 9.

“Urban Reprieves” at Ille Arts

    “Urban Reprieves,” an exhibition of recent paintings by Maggie Tobin, opens Saturday at Ille Arts in Amagansett, with a reception from 5 to 7 p.m. The paintings in the show are the byproducts of an otherwise tedious circumstance — the artist’s daily commute on the B.Q.E.

    Ms. Tobin, who lives in Brooklyn, began to notice empty billboards alongside the expressway and decided, as a reprieve from the frustration of idling in traffic, to repurpose them in paintings of hauntingly empty roads and cityscapes. “The billboards are also a lingering remnant from our recent past,” Ms. Tobin has said. “I’m guessing in 10 years there won’t be any because of the Internet and other innovative ways of advertising. I’ve come to feel almost sentimental about them.”

Get Wild at Richard Demato

    “Into the Wild,” a group show of gallery artists, opens Saturday at the Richard J. Demato Gallery in Sag Harbor, with a reception scheduled from 6 to 8 p.m. Two of the exhibiting artists, Kevin Muente and Dan VanLandingham, will attend the opening. Also included in the exhibition are Dragin Bibin, Rick Garland, John Jude Palencar, and Wang Xiaobo.

    In Mr. Muente’s recent paintings, the landscape serves as a backdrop for people facing elemental conflicts with nature. People are incidental in Mr. VanLandingham’s landscapes, many of which feature big skies and mere traces of human impact. Vampires populate Mr. Bibin’s work, Mr. Garland depicts empty, decaying factories, Mr. Palencar’s paintings combine meticulous realism with surrealism, and Mr. Xiaobo paints figures at once stylized and mysterious.

Fischl to Speak

    Eric Fischl, artist and, more recently, author, will be the next guest in the Writers Speak series of talks and readings at Stony Brook Southampton. Mr. Fischl, whose memoir, “Bad Boy: My Life On and Off the Canvas,” was published last spring, will speak Wednesday at 7 p.m. in the Radio Lounge on the second floor of Chancellors Hall.

    According to a review in The New York Review of Books, “Given Fischl’s aptitude for telling stories as a painter, it probably shouldn’t be a surprise that ‘Bad Boy,’ a memoir that covers his life from his earliest years to the present, is so engaging.” Other writers scheduled are Dwight Garner, Dan Menaker, and Richard Howard.

Gahan Wilson to Haunt Jermain

    “Gahan Wilson: Drawings,” an exhibition of work by the acclaimed cartoonist, who has been called by The New York Times “the master of the macabre,” will open Tuesday at the John Jermain Memorial Library in Sag Harbor and remain on view through Nov. 31. Mr. Wilson’s drawings of monsters, skeletons, vampires, werewolves, and ordinary people have been published in The New Yorker, Playboy, and National Lampoon, among countless others.

    Though Mr. Wilson has also written stories and published books for children, he is best known for his ghoulish cartoons. The artist has said of the genre, “The basic thing is that it should be funny. . . . If I do a monster which just terrified you, or made you sick or something like that, I’d have blown it. What you have to do is take these horrors and end up being a joke, or it’s not a cartoon.”

    A reception for the artist will take place Oct. 26 at 3 p.m. On Oct. 31, at 7 p.m., Mr. Wilson will be present for a screening of a new documentary, “Born Dead: Still Weird.”

Rare Montauk Travel Poster

    Tomorrow’s auction of rare travel posters at Swann Auction Gallery in New York City will include one touting “Montauk Beach on the slender tip of Long Island, N.Y.” Created by an unknown designer between 1929 and 1932, the poster reflects not only the styles of the Jazz Age but also the vision of Carl Fisher, the entrepreneur who played a key role in the development of Miami Beach in the ’20s.

    Fisher’s last major project was the transformation of Montauk into the Miami Beach of the North. Though the Great Depression wiped Fisher out and prevented the full realization of his plans, many of the components remain, among them Montauk Manor, the Tower at Montauk, and Montauk Downs State Park.

    Center Stage at Southampton Cultural Center is presenting “The Best Little Whorehouse in Texas” through Nov. 3, with performances on Thursdays at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sundays at 2:30.

    Carol Hall, Larry L. King, and Peter Masterson’s musical was inspired by the Chicken Ranch in La Grange, Texas. Michael Disher directs the production. Karen Hochstedler is musical director. The cast includes Valerie diLorenzo as Miss Mona Stangley, Daniel Becker as Ed Earl Dodd, and Bill Kitzerow as Melvin P. Thorpe. Tickets are $25, $12 for students under 21 with ID.

    The Hamptons International Film Festival’s Audience Awards went to Stephen Frears’s “Philomena,” a drama starring Dame Judi Dench, and set in 1950s Ireland, and “Desert Runners,” Jennifer Steinman’s documentary about the 4 Deserts Race Series of 150-mile ultramarathons. Irene Taylor Brodsky’s “One Last Hug (. . . And a Few Smooches): Three Days at Grief Camp” won the Audience Award for best short.

    “The Selfish Giant,” directed by Clio Bernard, won the Golden Starfish Narrative Feature Award presented by The Wall Street Journal. Ryan McGarry’s “Code Black” earned the Golden Starfish Award for best documentary, presented by A&E Indie Films. The Golden Starfish Award for best short went to “Whale Valley,” directed by Gudmunder A. Gudmundsson. Conner Chapman won a Special Jury Prize for Extraordinary Performance in “The Selfish Giant,” while the ensemble cast of Shubhashish Bhutiani’s short “Kush” also earned a Special Jury Prize.

    “The Square (Al Midan),” Jehane Noujaim’s documentary about the expectations and experiences of a group of protesters from Cairo’s Tahrir Square, won the Victor Rabinowitz and Joanne Grant Award for Social Justice and an honorable mention for the Brizzolara Family Foundation Award for a Film of Conflict & Resolution.

    “Plot for Peace,” directed by Carlos Agullo and Mandy Jacobson, was awarded the Brizzolara Family Foundation Award prior to the festival. Also announced in advance of the festival was the 2013 Alfred P. Sloan Feature Film Prize, which went to “Decoding Annie Parker,” directed by Steven Bernstein.

    “Free Ride,” a narrative feature by Shana Betz, won the Tangerine Entertainment Juice Award. The Zelda Penzel Giving Voice to the Voiceless Award was earned by “Emptying the Skies,” a documentary by Douglas Kass and Roger Kass.

    A recent addition to the festival’s awards is Variety’s 10 Actors to Watch. This year’s selections were Dane Dehaan, Scott Haze, Jack Huston, Oscar Isaac, Michael B. Jordan, Brie Larson, Tatiana Maslany, Lupita Nyong’o, David Oyelowo, and Lea Seydoux.

    Jurors for the Golden Starfish Award for documentary feature were Daniel Crown, Michael Halsband, and Nancy Gerstman. Karen Durbin, Alex Karpovsky, and Raul Esparza made up the Golden Starfish narrative feature jury.  

    A new production of Shakespeare’s “Othello” from London’s National Theatre will be screened at Guild Hall on Saturday at 7 p.m. Directed by Nicholas Hytner and starring Adrian Lester and Rory Kinnear, both Olivier Award-winning actors, the production transposes the action from 16th-century Venice to a contemporary military installation. Tickets to this encore presentation of National Theatre Live are $18, $16 for Guild Hall members.

    “The Nose,” Dmitri Shostakovich’s satiric opera based on Gogol’s story of a St. Petersburg official whose nose leaves his face and develops a life of its own, is the next program in The Met: Live in HD series at Guild Hall. The production, designed by William Kentridge and starring Paulo Szot, will be screened Oct. 26 at 1 p.m. Mr. Kentridge, a South African artist best known for his prints, drawings, and animated films, has staged several operas, most notably Mozart’s “The Magic Flute,” at La Scala and other venues. Tickets are $22, $20 for members, $15 for students.

    The award-winning pianist Liza Stepanova will perform at the Parrish Art Museum tomorrow at 6 p.m. as part of the ongoing Salon Series of classical music concerts. Ms. Stepanova has twice been a soloist with the Juilliard Orchestra led by James DePreist and Nicholas McGegan and was a top prizewinner at the Liszt-Garrison, Juilliard Concerto, Steinway, and Ettlingen competitions. She began her position as the Iva Dee Hiatt visiting artist and lecturer at Smith College this fall. Ms. Stepanova’s program will include works by Liszt, Wagner, Debussy, Scarlatti, Mendelssohn, and Ligeti.