Bay Street Theatre’s Comedy Club will feature Kenny Garcia, Vic Henley, Chris Clarke, Mark Riccadonna, and Marina Franklin, all rising stars on Monday, as part of the All Star Comedy Showcase.

    The event will be hosted by Joseph Vecsey, who hosts “The Call Back” podcast, on which he satirically discusses the business of comedy with weekly guests. Mr. Garcia has also seen success in comedy clubs across the U.S., while Mr. Henley has made debuts on late-night shows with Conan O’Brien and David Letterman and co-authored a national bestseller with Jeff Foxworthy. Mr. Clarke is a favorite at the Las Vegas Comedy Festival, and Mr. Riccadonna has toured with the Armed Forces Entertainment over six different continents.

    Tickets cost $25 and are available at baystreet.org or by calling the box office, which is open seven days a week, from 11 a.m. till show time.

   D.J. Mister Lama will return to the Parrish Art Museum for its Sounds of Summer series tomorrow at 6 p.m.

    A Sag Harbor resident, Mister Lama describes himself as a “Peruvian redneck from Texas who has been manipulating sound for more than 20 years.” He hosts “Other Music for Uplifting Gormandizers” on Stony Brook University’s WUSB 90.1. His set at the Parrish will feature a mix of records from the ’60s, ’70s, and ’80s. Mister Lama hosted radio shows on WRCT, Pittsburgh, and KPFT, Houston, and was a talk show host for Pittsburgh’s Waffle Shop TV.

    He will play on the museum’s terrace, and listeners have been invited to sit on the terrace or take blankets and beach chairs for the lawn.

    The museum cafe will be open for food and drinks. The Sounds of Summer programs are free with museum admission, which is $10 for adults, $8 for senior citizens, and free for members, children, and students. Reservations are advised.

   An abundance of nationally and internationally acclaimed musicians will perform on the South Fork this summer. The more prestigious venues offer a broad range of musical shows, many of which will take place in a setting more intimate than audiences are likely to find anywhere else.

   The Stephen Talkhouse in Amagansett will welcome many repeat performers to the tiny venue that nonetheless boasts a big and thoroughly professional sound. Jorma Kaukonen, a founding member of Jefferson Airplane and Hot Tuna, returns on Sunday at 8 p.m. Junior Brown, the category-defying Texan, will take his double-necked “guit-steel” to the Talkhouse on June 28, also at 8 p.m. Leon Russell, who has been called the ultimate rock ’n’ roll session man, a collaborator with icons from Jerry Lee Lewis to Elton John to the Rolling Stones, arrives July 19 for an 8 p.m. show. On July a founder of the band Squeeze and one of the finest pop songwriters around, will play the Talkhouse on Aug. 2 and 21, both shows starting at 8 p.m. On Aug. 16, the original Wailers, Bob Marley’s band, will perform at 8. And Labor Day weekend will see other reggae legends as Toots and the Maytals take the stage on Aug. 30 at 8 p.m. and Aug. 31 at 9 p.m.

    It’s not a live concert, but Guild Hall in East Hampton will present a screening of “Rockshow,” a concert film documenting Paul McCartney and Wings’ 1975-76 world tour, on June 22 at 8 p.m. Another concert film, “The Doors: Live at the Bowl ’68,” will be screened on June 30, also at 8 p.m.

    Laurie Anderson, another genre-defying artist with a long history of avant-garde performances, appears at Guild Hall on Aug. 17 at 8 p.m. The Doo-Wop Project, starring cast members of the Broadway show “Jersey Boys,” arrives Aug. 19, also at 8 p.m. Wynton Marsalis, one of the world’s best known and loved jazz musicians, plays Guild Hall on Aug. 24 at 8 p.m. The following night at 8, the Beatles’ album “Abbey Road,” the last the band would record, will be presented “note for note, cut for cut” by Classic Albums Live. On Aug. 31, the Taj Mahal Trio, with Bettye LaVette as special guest, performs at 8 p.m.

    Aaron Neville, the Grammy-winning singer, will play with his quintet at the Westhampton Beach Performing Arts Center on Saturday at 8 p.m. Country and Western music is in store at the center in July, as Lyle Lovett and his acoustic group appear on the 14th at 8:30 p.m., and Emmylou Harris and Rodney Crowell will take the stage together on the 20th, also at 8:30.

    The Fab Faux, featuring Will Lee of the “Late Show With David Letterman” band and other top session musicians, will perform music of the Beatles on July 27. The band, along with the Creme Tangerine Strings and Hogshead Horns, will play at 7:30 p.m. and again at 10. Buddy Guy, the legendary blues guitarist, plays on Aug. 4 at 8:30 p.m. Vince Gill, another country legend, appears on Aug. 11 at 8:30. And on Aug. 18 at 8:30, the 1980s pop superstars Huey Lewis and the News will celebrate the 30th anniversary of their album “Sports.”

   Any day now, with the scut work over and a vast pile of 1950s rubble trucked away, they’ll be bringing in a load of steel support beams, and the enormous task of turning the falling-down shell of Thomas Moran’s house back into the eccentric showplace it used to be will get under way for real.

    The renowned painter of the Western landscape, who once spent half a day on his front lawn with a gun across his lap, threatening to shoot the house-movers who were coming up Main Street if they disturbed one branch of the trees lining Town Pond opposite where he sat, would have had apoplexy upon seeing what’s happening at his beloved house today.

    It seems safe to say that this restoration of a nationally registered historic building, which will take no-one-is-willing-to-predict how many years, is more challenging than any undertaken in East Hampton before. That’s saying a lot in a village where rickety 18th and 19th-century houses jostle each other for elbow room, but this is more than a ground-to-attic rebirth (though it is certainly that), it’s a second coming. The people involved, all of them tops in their fields, speak about the project almost reverently.

    What makes reconstruction so formidable, apart from the front of the house’s having listed seven vertiginous inches toward Main Street since it was built in 1885 — even the temporary wooden buttresses you now see in the front yard, pushing back against the tilting structure, have slid down and out in the past five years — is that Moran, who was his own architect, put the whole thing together higgledy-piggledy, a door here, a window there, adding on and adding on. At a time when wealthy New Yorkers were just starting to put up their ambitious summer colony cottages at the south end of the village, the Moran house, built with a weather eye on the bottom line, probably stood out like a zircon on a platinum wedding band. An 1890 editor of this newspaper diplomatically called it “picturesque.”

    Resurrecting the Studio, as it is still known, is “much more difficult than Hook Mill,” said Robert Hefner last Thursday, stepping gingerly around a gaping hole in a back room. Richard Barons, executive director of the East Hampton Historical Society and the Thomas Moran Trust, and Mr. Hefner, East Hampton Village’s director of historic services, together head the restoration team. They are racing the clock to get everything fragile or shaky or at all vulnerable — meaning everything that’s not nailed down and some that is, such as the original pine-board kitchen floor — marked, numbered, and taken away before Guy Davis arrives with his steel supports.

    Mr. Davis, head of a fourth-generation Southampton construction company whose motto is “We will travel anywhere for interesting projects” (he moved the historic de Menil-Carpenter houses, now the East Hampton Town Hall complex, from Further Lane in 2007), “will have complete control over the whole weight of the building,” said Mr. Hefner. “It will be like holding it in your hand.”

    That’s because the Studio, unlike most buildings, cannot be raised from underneath — there’s nothing there. Mr. Davis will be picking the house up by its timber-frame walls rather than its floors, walls and floors being nowhere attached to each other. The main staircase has been swathed in puffy padding and the exterior walls covered with waterproof material to protect them from his ministrations.

     Hubaldo Arellano, who works for John Hummel, was cutting holes in the front walls last week to fit the steel struts, which will pass halfway into the house. Once the beams are in place, Mr. Hummel, the contractor, will embark on the project’s structural phase, starting from the bottom up with a hand-dug foundation and new brick pilings (old brick, more likely) to support a reconstructed front porch.

    Details of the porch roof were mysterious, like much about the Studio’s infrastructure, until quite recently, when Mr. Hefner discovered a diagonal line of nail holes, hardly visible to the naked eye, and from them was able to deduce the roof’s location and pitch.

    A hole in the floor in the middle of the kitchen was another riddle, solved just last Thursday. What was it doing there? The answer hinged, improbably, on the location of a back stairway to the second floor. Once that was found, it led to the place where the kitchen sink must have stood, which in turn spilled the beans on the hole in the floor. It was a drainage hole, just where it would have had to be.

    Moran is believed to have rescued the Studio’s front doors, which were extra-tall and wide to accommodate the comings and goings of his oversized canvases, from a commercial building that was being torn down at Broadway and 22nd Street in Manhattan. The doors were taken off the house three years ago, as the front wall had settled on them and they couldn’t be opened, but they are in good condition and will be reinstalled after a minor facelift. The large studio window, originally a storefront display window, is thought to have come from the same place. The artist installed it upside down, with the transom on the bottom and the display window on top.

    That same painterly eye that could spot salvageable gold among the dross of demolished buildings helped give the Studio, inside as much as out, its unconventional character. Moran found a place for any number of mismatched windows, sashes, mantels, newel posts and hand­rails, fanlights, pillars, panels, pilasters, almost anything still functional, in his erector set of an atelier-cum-house. When workers removed the edging around a bay window they found he’d used cigar box lids as part of the trim.

    Some of the many windows have broken panes or missing sash weight cords, some need hardware repair or replacement, all of them need glazing and painting. Nathan Tuttle of Eastport will restore the windows. Adam Galecki, a craftsman who supervises the Hummel woodworking shop here, has charge of almost everything else. Mr. Galecki will do much of the pivotal carpentry work and structural repairs himself.

    The building’s every aspect, down to the size and shape of the nails, has been documented, sometimes in inscrutable architecturespeak, in anticipation of its levitation. Describing the 1885 front porch, for example, Mr. Hefner noted in the official historic structure report he prepared for the village board that “its pediment had a denticulated cornice and a cartouche in the tympanum.” (A cartouche is “a carved tablet used ornamentally”; a tympanum is “a vertical recessed triangular space forming the center of a pediment.” Denticulated means “having toothlike projections.”)

    The hay bales that can be seen from Main Street, at the foot of the lawn where Moran waited with his rifle, are there to protect Town Pond from soil runoff in heavy rains. The house stands on higher ground than the street, as Ruth Moran, Thomas’s younger daughter, wrote on the back of an old photograph: “The land is higher than the sidewalk by two steps.”

    The two-story-high front room where the artist worked had a thin plaster ceiling that presented problems almost from the time it was put in, and still does. The plaster started cracking about 20 years after the house was built, so Moran covered it with fiberboard, lest the particles drift down onto his freshly painted canvases (“The Grand Canyon of the Yellowstone,” the painting that moved Congress to establish America’s first national park, may have been a potential victim). When the fiberboard covering was removed in 2008, much of the plaster came down with it. Barring structural issues, a new plaster ceiling will have to be installed.

    Another headache addressed that same year, before an on-and-off work hiatus that ended this winter, was a noxious, all-pervading odor, most evident in the service wing. “It really smelled,” said Mr. Hefner, wrinkling his nose at the memory. The stench was traced to an attic above the kitchen, where generations of small mammals had taken up residence. Workers cleared out dozens of dead squirrels and raccoons.

    It seems there were holes in the roof, shingled in 1885 with “dense, tight-grained, heartwood eastern white pine” that Mr. Hefner traced to a forest near Grand Rapids, Mich. The shingles are still there today, though they no longer provide adequate protection from the elements. Installing new ones will be the biggest single change to the exterior of the house and perhaps the last overall, with the exception of the final touch: a Victorian garden, to be designed by the garden historian Mac Griswold. Members of the Garden Club of East Hampton are already on board as caretakers.

    To date, the Moran Trust has raised about $4 million to fund the restoration, including $500,000 of community preservation money from East Hampton Village, and hopes to raise another $4 million, which will provide for an endowment. The plan upon completion is to use the Studio not only as the first 19th-century East Hampton summer cottage to be open to the public as a historic site, but also as a community resource, for concerts, lectures, plays and the like — all of which were held there when Thomas Moran was alive.

Four Women at Ille

    Ille Arts in Amagansett will show the artwork of Monica Banks, Suzanne Goldenberg, Janet Nolan, and Nicole Parcher in a show called “Four Women” beginning tomorrow with a reception from 6 to 8 p.m.

    Ms. Banks will create an installation of teacups and miniature figures with one of her cloud sculptures hanging overhead. Ms. Goldenberg creates assembled sculptures of wires and found objects in forms related to other objects but still abstracted. Ms. Nolan uses “post-consumer objects” in “serial meth­ods of construction” in sculptures that look like helixes or strands of DNA. Ms. Parcher complements the sculptors with paintings focused on the tension between line and color.

    The exhibition will be on view through June 22.

Architecture at Parrish

    The Parrish Art Museum will present the first in a series of talks coordinated with the Peconic branch of the American Institute of Architects, tomorrow at 6 p.m. The presentation, “Architectural Sessions at the Parrish: Drawing Art into Architecture,” will feature Alice Aycock, Roberto Behar, and Maziar Behrooz.

    They were chosen for their cross-disciplinary practices to “discuss the creative possibilities and problems at the intersection of art and architecture.” Tickets to the program, which is presented in conjunction with the exhibition “Alice Aycock Drawings: Some Stories Are Worth Repeating,” are $10; free for members, children, and students, and include museum admission.

    Advance reservations have been recommended.

Business of Art Continues

    Three more seminars are scheduled for the “Business of Art” series presented by Jane Martin, an artist and veteran of the commercial side of creativity. Each session will be held at the Springs Presbyterian Church, on the next three Saturdays from 10:30 a.m. to 12:30 p.m.

    This week’s focuses on “The Ins and Outs” of pricing art, organizing, creating Web sites and catalogs, applying for grants, crowd-funding, and other resources. The June 15 seminar will discuss promotion via social media, online sales, e-mail blasts, press coverage, and networking. On June 22, “Selling Your Art” will examine galleries, consultants, interior designers, and art fairs as different outlets.

    Ms. Martin can be reached at [email protected] for questions. The cost of each session is $40 at the door or $35 by Wednesday the week of the seminar, at P.O. Box 471, East Hampton 11937.

SoFo at the Beach

    Scott Bluedorn will lead a program for the South Fork Natural History Museum on Saturday in Montauk. “Driftology and Assemblage: Nature Art for the Beach” will take place at 1 p.m.

    Mr. Bluedorn, the owner and curator of Neoteric Fine Art in Amagansett, will demonstrate how to make art pieces from driftwood (while also cleaning up the beaches). Advance registration is required through SoFo, which will provide more information.

Hand Made & Functional!

    The Romany Kramoris gallery in Sag Harbor will present “Hand Made & Functional!” beginning today. A reception will be held on Saturday from 5 to 7 p.m.

    The show features ceramics by David Fram, Eve Behar, and Ted Tyler, and works on paper by Lutha Leahy-Miller and Joyce Brian. It will be on view through June 27.

Grenning’s New Show

    Sag Harbor’s Grenning Gallery will invite patrons to “Immerse Yourself” in a show opening on Saturday and running through July 7.

    The artwork will include pieces by Nelson H. White, Leo Mancini-Hresko, Michael Kotasek, Karl Terry, Melora Griffis, Lynn Sanguedolce, and a sculptor, Chad Fisher. The show will also introduce the work of Kristy Gordon, a 2013 New York Academy graduate.

    The theme is tied to “diving into the summer season.” The paintings are primarily plein-air landscapes of familiar South Fork destinations, with a few more exotic locales thrown into the mix.

A reception will be held on Saturday from 5:30 to 7:30 p.m.

    The Parrish Art Museum’s Landscape Pleasures garden tour and lecture benefit will take place on Saturday and Sunday. The theme of this year’s program, co-chaired by Lillian Cohen, Jack deLashmet, Martha B. McLanahan, and Linda Hackett Munson, is “Modernism, Minimalism, and Meadows.”

    On Saturday from 9 a.m. to 1 p.m., a symposium will include three talks with Thomas Woltz, Richard Hartlage, and a joint presentation by Christopher LaGuardia and Viola Rouhani.

    Mr. Woltz is a fellow of the American Society of Landscape Architects and the owner of Nelson Byrd Woltz Landscape Architects. His work emphasizes the use of design and restoration ecology to reconstruct wetlands and restore forests, native meadows, and wildlife habitat.

    Mr. Hartlage is the founder and head of Seattle-based Land Morphology. He recently worked on the new herb and vegetable garden at the Brooklyn Botanic Garden, the first new garden built at that institution in 20 years.

    Mr. LaGuardia’s firm, LaGuardia Design Landscape Architects, is based in Water Mill. Prior to forming the firm in 1993, he apprenticed under Norman Jaffe in Bridgehampton and at M. Paul Friedberg and Partners in Manhattan. His co-presenter, Ms. Rouhani, is a partner at Stelle Lomont Rouhani Architects, a Bridgehampton firm. She has focused on institutional and residential projects that range from theaters and health care to private and multifamily residences.

    On Sunday from 10 a.m. to 3 p.m. four private gardens and the Watermill Center will be open to ticket holders for self-guided tours. The gardens are concentrated in North Haven and Sagaponack.

    On North Haven, visitors will see the garden of Susan Rosenberg Goldstein, which has a LEED Gold certification for its environmentally sound planting practices, and the garden of David Sidwell and Majo Prazenec, which melds architecture and surroundings in a “seamless match.”

    In Sagaponack, William and Julie Macklowe’s garden was designed by Edmund Hollander Landscape Architects and Selldorf Architects as a blend of contemporary architecture on a post-agricultural site. Sandy and Stephen Perlbinder’s 20 acres of cultivated farmland overlooks the ocean, with a house designed by Mr. Jaffe and rescued from persistent erosion through ecologically sustainable means by Mr. LaGuardia’s firm.

    Tickets, at $225 ($175 for Parrish members), include the symposium and garden tours. Ticket purchasers at the sponsor level, $350 and above, will also have access to a private cocktail reception hosted by Richard Schimel and Tanhya Vancho at their Sagaponack residence.

    The garden tours will take place regardless of inclement weather.

   The laughs continue at Bay Street Theatre’s Comedy Club on Monday, with Jim Breuer, a stand-up comedian, taking the mike. Raised UpIsland in Valley Stream, Mr. Breuer hit the big time when he joined the cast of “Saturday Night Live,” where he became known for his original character Goat Boy and for his impression of Joe Pesci, the actor. Since then, the comic has had roles in several movies, most notably “Half Baked,” in which he co-starred with Dave Chappelle. He was featured in Comedy Central’s “100 Greatest Stand-Ups of All Time.”

    Just added to the comedic lineup is Colin Quinn, who will appear June 29. The satirist will “tackle 226 years of American Constitutional calamities,” according to the theater, in his show “Colin Quinn Unconstitutional.” No absurdity is spared, from predator drones to the Kardashians.

    Tickets are $69, $62 for members, and are available at the box office or online at baystreet.org.

    At the All Star Comedy Showcase, on June 17, the host Joseph Vescey will introduce several “rising” stand-up comics including Kenny Garcia, Vic Henley, Chris Clarke, and Mark Riccadonna. Tickets are $15 in advance and $25 on the day of the event.

   Orion Weiss and Anna Polonsky will play for the Rising Stars piano series on Saturday at the Southampton Cultural Center’s Levitas Center.

    A renowned young American soloist, Mr. Weiss has been a Pianofest participant since he was 15. Ms. Polonsky, who will make her debut at Carnegie Hall later this year, will join him to perform Gabriel Faure’s “Dolly” Suite for four hands, Igor Stravinsky’s Concerto for Two Pianos, and George Gershwin’s “An American in Paris” for two pianos.

    Tickets cost $15 and are free for students under 21. They are available in advance at scc-arts.org or at the door 40 minutes prior to the performance, which starts at 7 p.m.

   The Perlman Music Program will present two evenings of collaborations in which “future stars of classical music” join such veterans as Paul Katz, Merry Peckham, Roger Tapping, Don Weilerstein, Vivian Hornik Weilerstein, and Itzhak Perlman himself to perform chamber music masterworks. A meet-and-greet reception with the artists will follow both events.

    The first performance is tomorrow at 7 p.m. at the Southampton Cultural Center. Tickets cost $50 to $100. More information can be had by e-mailing specialevents@perlmanmusicprogram. org.

    The other will be on Saturday at 8 p.m. at the Jewish Center of the Hamptons in East Hampton, for which tickets cost $50, or $200 for V.I.P. seating.

   The Watermill Center will hold its last two open rehearsals of the spring season this week.

    On Sunday at 6 p.m., Susan Yan­kowitz, a librettist and playwright, and Kamala Sankaram, an Indian-American composer, will present “Thumb­print,” an opera-theater work inspired by the experiences of Mukhtar Mai, a Pakistani woman who famously brought her rapists to justice.

    On Tuesday at 7:30 p.m., John Atwood, a Chicago street photographer, will present “If You Stand Long Enough You Become a Place.” The piece is a video presentation of an experiment in which he recreates the composition of photographs he has taken before seeing the developed film.

    Reservations for the two events can be made through watermillcenter­events.eventbrite.com.