This Saturday, May 30, The Grocer’s Son screens at the Katharine Cornell Theatre at 8 p.m. This 2008 film from France, starring Nicolas Cazale as Antoine, retells the fable of the prodigal son with modern updates. The Martha’s Vineyard Film Society’s Richard Paradise summarizes, “Antoine reluctantly returns to his rural hometown after 10 years in the big city when his father (Daniel Duval) has a heart attack.

The influence of nature versus nurture, the difference between forgiveness and forgetting, the existence of good and evil: these paradoxes were invoked by a cast of three actors against a spare backdrop in Monday night’s Island opening of Bryony Lavery’s Tony award-nominated drama Frozen. The story involves a grieving mother, a psychiatrist, and the murdered child who connects them.

The audience at the Katharine Cornell starts tittering the moment Coleman Conner (Chris Brophy) swaggers onstage. Hips thrust forward, jaw slack, malevolent halfwit eyes groping around the room for something to steal or mangle, he manages to make his trip from the doorway to the liquor cabinet into one continuous promise: we are in for a treat.

Something is growing at the Farm Institute, alongside the tomatoes.

It’s a fairy tale with a surrealist bent, a celebration of the power of imagination with a somber undertone.

Written by Brian Ditchfield, and originally conceived as a video to be shot in alleyways of Chicago, Kim and Delia is the first production of Art Farm, Mr. Ditchfield’s and Brooke Hardman’s joint venture in something they call “sustainable art.”

In his 1841 essay Circles, the transcendentalist philosopher Ralph Waldo Emerson celebrated the moment when a visionary rises up amongst us. “By a flash of his eye,” wrote Emerson, the artist “burns up the veil which shrouded all things, and the meaning of the very furniture, of cup and saucer, of chair and clock and tester, is manifest.”

It’s the sixties in the highest arc of the go go era. A boy and a girl meet in the lavatory of a 727. They’re there to flirt and to bargain. He, a self-described Fulbright scholar “gone bad,” needs her to sneak anesthetized birds sealed in hair rollers past customs. Also narcotized poisonous snakes, small ones, sewn into the lining of a lady’s undergarment.

If there’s to be a central tragedy in one’s life, odds-on it’s bound up in the heartbreak of an unhappy family. In Athol Fugard’s seminal play, Master Harold and the Boys, which premiered in 1982 at the Yale Repertory Theatre before going on to an extended run at the Lyceum on Broadway, the playwright depicts a family’s dysfunction for the specific and fascinating angst all of its own, and also as a microcosm for the dark heart of the Family of Man as it rolled out in the decades of apartheid in South Africa.

The house was full, as ever, when 95-year-old Helen (Hellcat) Lamb took the stage at the Camp Jabberwocky studio. The sweltering heat was amplified by the spotlight that ignited her usual white blouse and matching, freshly styled shock of white hair. She looked out into the crowd sternly, and waited for a relative quiet to settle on the room before beginning: “Twas brillig, and the slithy toves, did gyre and gimble in the wabe: All mimsy were the borogroves, and the mome raths outgrabe . . ..”

Call him a professional fighter, a specialist swashbuckler, the Errol Flynn of our era: Broadway combat choreographer David Brimmer next week bursts onto the Island stage for a week-long residency. He will teach a free public workshop for children and adults as well as work intensively with students at the regional high school.

IMP All Things Theatre Camp will start its sixth year on Monday, July 6. The camp is part of a year-round theatre program where kids ages six to 18 are given the opportunity to explore theatre. Held at the Edgartown School, IMP camp is about choice. Children are given the opportunity to choose their path as they explore all types of theatre. They can choose full or half-day options, one-week or two-week sessions and different types of theatre. A theme encompasses the work of each IMP camp session.