Nicole Leon, a violinist who is an alumnus of the Perlman music program on Shelter Island, will be on stage at the Clark Arts Center there in a solo recital tomorrow night. The concert starts at 7:30 p.m.

    Ms. Leon, who is from Venezuela, has performed as a soloist and chamber musician worldwide. She is a recipient of a Jerome L. Greene Fellowship and a Dorothy Starling Scholarship at the Juilliard School. Tickets, which are $20 in advance or $25 at the door, with lower prices for those under 18, can be purchased online at the program’s Web site

    Charles Ludlam’s “The Mystery of Irma Vep,” the second production in the Bay Street Theatre’s summer Mainstage season, will open on Tuesday under the direction of Kenneth Elliott. The play was first performed by Mr. Ludlam’s Ridiculous Theatrical Company and proved so popular that it ran until April 1986. A two-person comedy, it will star Tom Aulino and David Greenspan, a five-time Obie Award winner.

    The play is a satire of several theatrical and film genres, in which the actors play eight different characters, both male and female, with over 35 costume changes. Gary Hygom, the producer, promises a funny show that will have “audiences crying with laughter.”

    Tickets are $59.50 and $69.50, with subscriptions to all three Mainstage productions starting at $138. Tickets are available at the theater’s Web site and by telephone.

    “A Funny Thing Happened on the Way to the Forum” is the final production in the series. Based on a book by Burt Shevelove and Larry Gelbart, it will be directed by Marcia Milgrom Dodge.

   The basilica of Sacred Hearts of Mary and Jesus Church in Southampton will be the setting for a concert by the combined St. Agnes Cathedral Choirs on Saturday at 7 p.m. Under the direction of Michael Bower, the singers are members of St. Agnes’s men and boys choir, the Cathedral Chorale, the Cathedral Schola Cantorum, and the Cathedral Singers. The Diocesan Boys Choir of Rockville Centre will also perform. Allen Pote’s “A Jubiliant Song,” John Rutter’s “For the Beauty of the Earth,” and the “Hallelujah” chorus from Handel’s “Messiah” are on the program.

   “Everybody knows we’re going down / When we walk around / Everybody knows we’re going down / When we’re out on the town.”

    With opening lyrics like these, it is quickly apparent that listeners are in for an emotional ride. Welcome to “Everybody Knows,” the eighth and most poignant, sometimes wrenching, album by Taylor Barton, who lives in Amagansett. A mostly acoustic, gentle, and contemplative collection, “Everybody Knows” depicts Ms. Barton’s reaction to, and journey to overcome, a period of great upheaval in her life.

    Though its official release date is Oct. 1, the CD will be available when Ms. Barton and her husband, the guitarist G.E. Smith, perform at the Stephen Talkhouse in Amagansett on Wednesday. Also imminent is the online release of a bonus track, “Wind.”

    “Everybody Knows” is about “huge losses in my life,” Ms. Barton said. These included the sudden death of her sister, Blair, in 2011, as well as that of a close friend, the singer Rebecca Dorsey, and of Mr. Smith’s closest friend, the musician T-Bone Wolk.

    “When those things happen, you’re never prepared for it,” Ms. Barton said. “I was crushed, and G.E. was on the road with Roger Waters for two years. There was no getting around grief. I mean, by the time my best friend died, I was like, ‘That’s it. God, you have my full attention. I completely surrender.’ ”

    “All my intimate relations were cut off at the same time,” she recalled. “I have great, amazing friends around me. I have this amazing community. It wasn’t like I was without support, but I just found it the most ‘alone’ place I’d ever been. I don’t say this in a self-pitying way — there was no other choice than to go through this, and for me, the best way to go through it was with the music.”

    “I took apart my world, and I came back through these songs,” Ms. Barton said. “I found my strength there.”

    An attempt to explain the inexplicable to her daughter, Ms. Barton said, led to the title track. “My little girl said, ‘What happens when you die?’ and I really didn’t have an answer.” Her sister’s passing also laid bare decades-old family dynamics, which she set about deconstructing, as on “You Wanted Me,” featuring a fragile, wistful slide guitar. “My father had a lot of affairs when we were young,” she said. “ ‘You Wanted Me’ is the story of the girl who got involved. I took the persona of each person involved in an affair: the wife that was cheated on, the man having a midlife crisis, the girl who got involved.”

    “The Dawning,” the track that addresses her sister’s death most directly, is one of the album’s most anguished: “I can’t think a thought without you / I can’t speak a word of truth,” she sings over a sparse accompaniment of acoustic guitar and Wurlitzer electric piano. “I’m caught in the chaos of clinging to you / Or letting you go, it’s the right thing to do.”

    On another track, “Blindsided,” Scoville Hall, the Amagansett Presbyterian Church’s building on Meeting House Lane that burned in October 2011, serves as a metaphor for Ms. Barton’s emotional state. “The site of that really resonated with me, this beautiful, old, gorgeous hall,” she said. “To see it destroyed was somewhat like how I felt.”

    In attempting to process these shattering losses, Ms. Barton traveled to India, where she wrote “Wind.” “That was really freeing,” she said. “I have a sitar player on it, who studied with the late Ravi Shankar. He’s going play at the [Stephen Talkhouse] gig.” India, she said, “healed me. I came back free of sadness. That’s one of the things that have come into focus for me: I am doing what I need to do. I’d always wanted to go to India, but didn’t think it was going to happen. And then it did.”

    “Train is Coming,” the last song Ms. Barton wrote for the album, was an epiphany, she said. “The first song faces death right on: ‘We’re going down.’ And then ‘Train Is Coming’ was, ‘We’re all going, we’re going to be okay,’ ” she said. “It kind of came out of a dream of my sister, and I was finally released from this loss cycle.”

    “Everybody Knows” was made with the producer Tony Shanahan, who assembled musicians including Erik Della Penna, Graham Hawthorne, Chris Palmaro, and Ereni Sevasti. Mr. Smith also performed, but sparingly. On previous recordings, Ms. Barton said, “G.E. was always involved in the production. This was the first time I did it by myself. I was really proud of that. I always felt that part of me couldn’t stand up, because G.E. is so amazing, but this really allowed me to step forward and be fully present in the music and really show myself that I was doing this alone. And I was, basically — I was so alone. Not to say he isn’t always there, but this was a very solitary process.”

    It is often observed — and history demonstrates it — that great art arises from struggle, hardship, suffering. Ms. Barton is modest about her own art, but acknowledged a kind of breakthrough with “Everybody Knows.” Now, she said, she has attained a level to which she had always aspired, “to stand in front of people and be able to make the connection with them just by way of being open.”

    She admits to some reticence on previous recordings. “Whether it was the incredible brilliance of my husband, I couldn’t step up to the plate, whereas with this one there was no block. I just thought, ‘If this is it, this is what I need to say.’ That’s how I was living, every day: Wow, this could be it. My sister, suddenly gone, no warning.”

    “Everybody Knows,” she said, “was the conversation I was having with myself. There is no formula for this stuff. You just let it take you, and you follow it.”

   Karen Kluglein’s pleasant life fell apart in the year 2000, when her husband, a landscape contractor working with big-name East End architects, died suddenly at the age of 44, leaving her with a 4-year-old daughter, a mile-high stack of medical bills, and a career that had started going south just around the time the child was born.

    In the years before Steve Jobs and Photoshop and the baby came along, Ms. Kluglein had been a successful illustrator for commercial displays, packaging, and book and magazine covers, with such clients as Nestle, Keds, and IBM. Caught unawares by the digital revolution, like a medieval monk turning out illuminated manuscripts and stopped in his tracks by Gutenberg, she hardly noticed that the demand for her meticulous hand-drawn images was fading until it was too late. What Madison Avenue ad agencies expected in 2000 — computer-generated graphics, pixel art, digital painting — was outside her comfort zone.

    “The last job I did was for Earth’s Best Baby Food,” she said last week at the Sag Harbor studio where for the last seven years she has created botanical paintings that are much prized by collectors, though perhaps not as well known here on her home ground. “I didn’t want to use a computer. It’s so different. The work even looks different. It’s too perfect — airbrushed, maybe. It has a cold look to it. There’s something so tactile about using brushes.”

    Instead, Ms. Kluglein, whose watercolor of Rosa rugosa will be the poster for next month’s East Hampton Ladies Village Improvement Society Fair, went to work for James Alan Smith of Water Mill, painting decorative surfaces and trompe l’oeil on beach house walls, as well as large landscapes, chiefly of rocky shorelines, for a now defunct Southampton gallery. (“ ‘People want big paintings in their big houses,’ ” the dealer told her.) In the studio, she still has a few of the landscapes, which look about as far from her delicate botanicals as an ostrich from a hummingbird.

    “Then came ASBA,” said the artist, recalling the aha! moment when she happened to drop in on the American Society of Botanical Artists’ annual show of work by its members. “I thought, ‘Oh, my gosh! That’s where my work belongs!’ Because when I had free time or was between jobs, I’d do those for myself.”

    Goodbye walls, hello calfskin vellum.

    A small tulip — just a single tulip — may take the meticulous Ms. Kluglein four days to paint; large assemblages need up to a month. Her luminous creations start at about $1,800 for watercolors on paper and go up to $5,000 or more for work of the kind she’s doing at the moment for a Russian collector, who has commissioned a series of paintings that uncannily echo those ornamented medieval texts.

    In the United States, one of the most prominent collectors of botanicals is a stockbroker-turned-entrepreneur named Isaac M. Sutton, who lives in Brooklyn, where he has an ongoing project revolving around his favorite tree, a pink dogwood. Every year when the tree is in bloom he asks a different artist to paint it. (“It’s taking the Monet haystack theory but distributing it among different artists,” he once explained.) Among botanical painters, being asked to paint the Sutton dogwood is apparently like being told you’ve won a MacArthur genius grant (without the $500,000). Ms. Kluglein, who was asked several years ago, assumes the paintings will make a book someday.

    The challenge for the botanical artist is not only to capture the beauty of the subject but also, with scientific accuracy, its unique form and function, and to do it in a way peculiar to the artist’s own sensibility, so that the viewer, ideally, will recognize it as hers.

    Ms. Kluglein had a banner year in 2010, when, after her work was named Best in Show at ASBA’s annual exhibit at the Horticultural Society of New York, she also won ASBA’s annual award for excellence in botanical art and had exhibitions both in California and at the Spanierman Gallery in East Hampton.

    This year, her finely drawn watercolor of a Frankliniana twig in flower was chosen by ASBA, which has 1,500 members here and abroad, to illustrate its current traveling exhibition, “Following in the Bartrams’ Footsteps.” The show opened last month in Philadelphia and will go to Florida, Georgia, North Carolina, and Berkeley, Calif., before closing in February 2015. (John and William Bartram, brothers, were 18th-century naturalists who found a hitherto unknown tree with red leaves and white blossoms growing wild in Georgia, collected its seeds, and named it for their friend Benjamin Franklin.)

    Warren and Bebe Johnson of East Hampton’s Pritam & Eames Gallery spotted Ms. Kluglein’s work a year ago and are currently exhibiting several of her watercolors in conjunction with their 33rd anniversary show, on view through July 30. “There’s a line her paintings tread, particularly her still lives, that is especially provocative,” Ms. Johnson said, citing a painting of hydrangeas in a metal container with a pair of scissors off to the side, its point headed directly at the viewer. “There’s this absolutely luscious gathering of hydrangeas,” said Ms. Johnson, “and then this edge.”

    “When I find a subject I want to paint I often know right away,” Ms. Kluglein said. “Sometimes something looks so absolutely perfect you can’t believe it.” She once brought home an entire heirloom rosebush because it had “one exquisite blossom,” and bought a “perfect-looking oyster mushroom” in a grocery store because “I have never seen another quite like it.”

    The New York Botanical Garden, where she teaches classes in botanical art, has her painting of grapes, done from a photograph she took at the Channing Daughters Winery in Bridgehampton, in its library. “One of the nicest things for me was to get into the [N.Y.B.G.’s] historical library,” she said. “It means your work is saved and taken care of.” For someone who sees her living subjects die or decay within days, preservation on that level is understandably meaningful.

    Ms. Kluglein lives with her daughter and her second husband, a retired fireman for the New York Fire Department, in East Hampton. Her mother, June Kluglein, also an artist, died four years ago, and a year later her father suggested she move into her mother’s studio behind their garage. The setup has been perfect for both of them; he has his daughter around and she, who’d been using a spare room in her house, has both her father and the space she needs.

    “Rosa rugosa,” her L.V.I.S. Fair poster, will be on sale at the fair itself on July 27,  and she will be there to sign her work. Notecards will be available as well. The chairwoman of the fair, Wendy Serkin, who chose the subject, was a student of hers one summer. And speaking of notecards, Caspari, a maker of high quality paper products, has bought nine of Ms. Kluglein’s images in the past year for use as cards and placemats. “I saw one at the East Hampton Party Store,” said the former commercial illustrator.

   Brooks Elms, writer, director, and producer of countless films, is coming home to East Hampton this summer. 

   Yes, he plans to see his mother, who still lives in the family house on McGuirk Street, but his real mission is all business. He will be holding a script reading and eventual casting for his new movie, “Montauk Highway.” The film, which takes place in East Hampton, is a teen love story that focuses on tensions and bitterness between locals and the summer crowd.

    “Growing up here in East Hampton, I felt like it was basically a small town, and then in the summer it would change. It was a town with two identities. That split identity was strange. With the tensions growing up toward the people that came out in the summertime, I thought it was a great place to have the film,” said  Mr. Elms.

    Born and raised here, Mr. Elms attended East Hampton High School, where he made almost 50 short films and videos, before going on to study film at New York University. He earned a screenwriting award for his thesis film, “Drew, Trip, and Zoey,” as well as film-making grants from Warner Bros. and the Hamptons International Film Festival.

    More recently, he wrote, directed, and produced “Schooled,” which was nominated for Best Ensemble Performance and the Maverick Production Award at the Method Fest in Los Angeles in 2007.

    “Montauk Highway” is a new type of film for Mr. Elms, a result of years focusing on psychology and story structure. It obviously strikes close to home for him, and for his co-writer, Greg Cantwell; many of the issues the characters face are the same ones they encountered as teenagers.

    But in an interview, Mr. Elms made it clear that the film is in no way autobiographical. 

    “Emotionally, my experiences as a kid in East Hampton absolutely relate to the story. The characters in the script are similar to what Greg and I experienced. It’s absolutely personal and vivid and true to our experience. But what’s on the page is not autobiographical at all,” he said.

    “I shot my senior thesis film out there. It’s beautiful. Because I grew up in the town, it’s my home. It’s a place I feel very comfortable in. It was a very supportive place for us, as local kids, to shoot, but this will be the first time as a full professional to shoot something out there.”

    Although “Montauk Highway” isn’t supposed to premier until early 2015, Mr. Elms already has big hopes for its success. “I know it’s a film that a lot of people will really appreciate. I know it can be profitable. And I think it’s going to be a way of showing a side of the town that no one’s really seen before. The hope is that this will put East Hampton on the map in a different way.”

    “But basically, it will appeal to the under-25 crowd. It’s a teen romance, with all the excitement. But it’s also thoughtful and personal. So it could appeal to anyone. It really could be a movie that does five or ten million in the box office.”

    If all goes as planned, shooting will begin next spring. Mr. Elms plans to cast all the supporting roles with local talent. The two leads will be young stars with previous feature-film acting experience.

    Auditions will be held on July 8 at East Hampton High School. The script reading will be on July 13 and is free and open to the public.

    More information about the movie and auditions can be found at montaukhighwaythefilm.com.

   On a bustling Friday morning in East Hampton, Anne Chaisson entered Babette’s wearing a magenta dress, blond hair damp from the shower, with that casual yet put-together look so many try to master for when their downtime here mixes with official business or serious fund-raising. In her case, she has had many years of experience of both to get it just right.

    Ms. Chaisson has been director of the Hamptons International Film Festival since November, but she has been associated with the organization for more than a decade. She was a founding advisory board member and a co-chair of the festival from 2003 to 2012 and was its full-time director of development from 2006 to 2009.

    Her connection with the South Fork is even longer, including a number of share houses and rentals in her past and present. She is now settled in Northwest Woods, in a perfect location to get her easily to and from East Hampton, Sag Harbor, and Southampton, as well as in and out of the city.

    Moving easily between the villages of the South Fork has become more important in the past few months as she and the festival seek to build new partnerships with new and existing arts organizations from Montauk to Westhampton Beach.

    Southampton will be increasingly important to the balancing act of her new position, as she has been working with the recently formed Southampton Center, an interdisciplinary arts organization which will operate out of the Southampton Village-owned property on Job’s Lane occupied until last fall by the Parrish Art Museum. Film@Southampton Center, a summer series of outdoor and indoor screenings selected in partnership with the festival will begin on Friday, July 12, with “Chasing Ice,” a cooling documentary by Jeff Orlowski that follows a National Geographic photographer on a multi-year expedition to document the changes in the Arctic’s glaciers.

    The outdoor component of the series will mix current documentaries and independent narrative features with classics and children’s entertainment. Other titles this summer will be “Running Wild,” “Wreck-It Ralph,” “Safety Last,” “Ain’t Them Bodies Saints,” “Jaws,” and “Step Into Liquid.” They will screen on Friday nights around 8:30.

    There will be an indoor component on Saturday evenings at 7:30 as well. These screenings will feature independent films fresh from the festival circuit and before they are released in theaters. That series begins on July 20 with “Blue Caprice,” a film by Alexandre Moors based on the D.C. Beltway sniper attacks of 2002, and shown at Sundance and New Directors/New Films at the Museum of Modern Art and the Film Society of Lincoln Center. The other films will be “Prince Avalanche,” “Drinking Buddies,” and “Short Term.”

    In addition to the screenings she would like to bring the filmmaking classes she has developed at Guild Hall for children ages 8 to 11 and 12 to 15 to the new center to serve the Southampton audience. “We know that those audiences are quite distinct.” The classes at Guild Hall have been very popular and are filled with about 80 percent year-round children. “One family, the Wainwrights, have sent their kids there for five years,” she said.

    So she is getting to know the backroads, despite a few missteps and getting lost on her bike at least once in Northwest. And she will continue to need to find new ways to navigate the South Fork as the festival’s current successful programs continue and new ones are added.

    Tomorrow, for example, “Gasland Part II,” a documentary on the effects of the hydraulic fracturing method of harvesting natural gas, also known more familiarly as fracking, will be shown at Guild Hall as part of the festival’s SummerDocs series at 8 p.m. On hand for a discussion after the film will be Josh Fox, the director, Andrew Revkin, an environmental writer and blogger for The New York Times, Alec Baldwin, who presents the series, Karl Grossman, a local writer specializing in environmental concerns, David Nugent, the festival’s artistic director, and Ms. Chaisson. She said the festival will announce the final selections for the series soon.

    This year’s main event in October will build on the festival’s regular programs and the reputation it has established as a “destination on the march to the Oscars. We are in the timeframe of the Oscar push. There is a huge Oscar voting community in the Hamptons with all of the writers, producers, directors, actors, composers, etc. It is a good spot to get that kind of exposure.”

    Although the buying season has expanded to include smaller festivals like the Hamptons and films are purchased there for distribution, “that’s not our identity,” she said. “We feel the signature programs we have brought to the East End that no other festivals do, such as Conflict and Resolution, should be the main focus.”

    This year, the festival is offering reduced-price Founders Passes for $1,250 until Labor Day, after which they increase to $1,500. They are also offering Companion Packages that give early access to tickets, and are available through the festival Web site.

    Ms. Chaisson is originally from Louisiana and her relaxed Southern-inflected approach to things appears to make her well-suited for this position with its outsize ambitions and limited budgets and staff. She came to New York City after college as a brand marketer for companies such as MasterCard. She became interested in film and began producing a feature around the time when the company she had been working for moved out of the city. “I took the package and changed my career” and started her own production company.

    She then got an offer from Kodak to be its East Coast marketing representative for the moving image, which meant hitting the film festival circuit, including the Hamptons International Film Festival, which is how she came to know and become involved in it, eventually bringing a feature she produced, “Roger Dodger” with Jesse Eisenberg, Campbell Scott, and Isabella Rossellini to several festivals, including the Hamptons. She also served on the jury for the festival one year. Around the same time, she started the advisory board, and a few years later began as director of development.

    She has produced five films with her company, started a film school, and has raised money for film festivals and the Film Society at Lincoln Center. “I caught the film festival bug. It felt like producing an independent film. They are small, seasonal, and have small budgets, which are doable, but there are a lot of complicated logistics.”

    With her experience in fund-raising, production, education, film festivals, and even awards show production, “I like to say I’m the Swiss Army knife of independent film, but it is the exact niche for me.” For her, the film festival is “like a new marriage, a new role. I feel like I’ve come home.”

   Robert Hobbs, author of “Alice Aycock: Sculpture and Projects” published by M.I.T. Press in 2005, will speak on “Alice Aycock: How to Catch and Manufacture Ghosts” tomorrow at 6 p.m. at the Parrish Art Museum. Tickets are $10 and include museum admission.

    “Since the ’70s, Alice Aycock has created works that question the many ghosts inhabiting our contemporary world, particularly those involving electricity, physics, computers, constructed world views, and the mind/body dichotomy,” according to Dr. Hobbs. He will examine how these ghosts operate in her work, including one with the title “How to Catch and Manufacture Ghosts.”

    Dr. Hobbs is a visiting professor at Yale and the chair of the Virginia Commonwealth University art history department with a specialty in both late modern and post-modern art.

    Preceding the talk will be the museum’s Jazz en Plein Air series from 4 to 6. The Ada Rovatti Band will perform, free with museum admission. Ms. Rovatti is a young saxophonist born in Italy. Her 2005 recording “Airbop” was nominated by “All about Jazz” as one of the top 10 CDs of the year.

    The museum is also seeking entries of short, non-commercial surf movies shot on location between Montauk and Westhampton for its “Atlantic Vibrations: Surf Movie Night” set for Aug. 23 at 6 p.m. Films should be no more than five minutes in length. They will be judged and compiled by Michael Halsband, a surfer and photographer, and Mike Solomon, an artist and surfer. Up to five films may be submitted online at parrishart.slideroom.com, no later than July 19. The submission fee is $10.

    You know it’s high season when Guild Hall’s John Drew Theater is booked every night, not to mention the galleries that are filled with exhibitions. Looking at the calendar, “Big Bad Wolfe,” a staged reading about the author Tom Wolfe by Rene Auberjonois, will take place tomorrow night. It is covered separately on page C5.  Then, on Saturday at 8 p.m., the Upright Citizens Brigade Touring Company will take over.

    The UCBTourCo focuses on long-form improv, and the cast is hand-picked from improv comedians in New York City and Los Angeles, who are said to represent the next wave of comedy superstars. Tickets are $20; $18 for members.

    Roger Rosenblatt, the author of 16 books and 6 Off Broadway plays, will be at Guild Hall on Sunday, at 11 a.m., to read and sign books. Mr. Rosenblatt’s most recent work is a memoir called “Kayak Morning.” Other works, which have been national best sellers, are “Unless It Moves the Human Heart,” “Making Toast,” “Rules for Aging,” and “Children of War,” which won the Robert F. Kennedy Book Prize and was a finalist for the National Book Critics Award. His first novel, “Lapham Rising,” was also a best seller.

    Mr. Rosenblatt, who teaches English and writing at Stony Brook Southampton, is well known on the South Fork. He lives in Quogue.

    Then, on Sunday evening, the doors will open for a screening of  “The Doors Live at the Bowl ’68,” which is usually seen as the band’s best performance on film. The concert, “Live at the Hollywood Bowl,” was recorded in 1968 but not released until 1987. A new version was released in October 2012. The digitally re-mastered film includes the previously lost performances of “Hello I Love You,” “Texas Radio and the Big Beat,” and “Spanish Caravan.” The screening is not only for Doors fans, but for those who would like to become more familiar with classic American rock. General admission  is $12, and $10 for members.

    A performance by a master of the slide quitar will take over on Wednesday at 8 p.m. in a program organized as a Crossroads Music Showcase. Kerry Kearney’s unique style, which is referred to as Psychedelta, contains an upbeat mix of American blues and roots with a personal mix created with his vintage, stock, and custom-made guitars. Mr. Kearney was inducted into the New York Blues Hall of Fame in this year.

    Earlier in the week, at 8 p.m. on Tuesday, Neal Feinberg, a comedian and actor, will star in  his own a one-man show, in which he portrays 40 different characters. Written by Becky Mode and directed by Rob McCaskill, “Fully Committed” follows the story of a reservationist at the hottest restaurant in New York City. Mr. Feinberg is known for “Colt 40 Feinberg” from “The Howard Stern Show.”

    Looking ahead, Guild Hall will sponsor two programs on Friday, July 5. “Jurassic Park” will be screened outside at the Mulford Farm at 8:30 p.m. The tab is $5 and picnics and seating have been suggested.

    At the same time in the John Drew Theater, the second part of a documentary film on fracking, “Gasland, Part Two,” will be shown. Alec Baldwin will introduce the film as host of SummerDocs, a program sponsored by the Hamptons International Film Festival. The film’s director, James Fox, will answer questions following the screening.

    More than 100 singers and the members of the South Fork Chamber Orchestra will join together on Saturday to perform George Frideric Handel’s well-known Baroque masterpiece “Israel in Egypt” and Cantata 79 by J.S. Bach. The Choral Society of the Hamptons will team up with the Greenwich Village Singers in the performance. Both groups are directed by Mark Mangini, who will conduct. Suzanne Schwing, mezzo-soprano, and Mischa Bouvier, baritone, are known here from previous concerts with the Choral Society. Sara Paar will be the soprano.

    Second only to “Messiah” in popularity among Handel’s oratorios, “Israel in Egypt” is based on the Biblical story and dramatizes the struggle for freedom from slavery. The concert will feature those portions of the oratorio that describe the Exodus, as the music evokes drastic events ranging from the seven plagues to the parting of the Red Sea. The society’s president, Daniel Mc­Keever, commented, “This is a universally appealing work that hasn’t been performed here in years. We are thrilled to be presenting it, and think our audience will be, too.”

    The concert will take place at 7 p.m. in the Parish Hall of Most Holy Trinity Catholic Church in East Hampton. A benefit dinner to follow at the Palm restaurant in East Hampton has been sold out.

    Tickets for the concert are $25 in advance, $35 at the door. Youth tickets are available for $10 in advance, and $15 at the door. Preferred-seating tickets are $75. Tickets can be purchased by going to the society’s Web site, choralsocietyofthehamptons.org, or by calling the executive director at 631-204-9402. They also are available at the Kramoris Gallery in Sag Harbor.