‘Shall We Gather’ Documentary Confronts Segregation History Between Two St. Mary’s County Churches

VALLEY LEE, Md. — The idea for “Shall We Gather,” which will screen March 7 at the Campus Center at St. Mary’s College of Maryland, began not with a camera, but with a piano.

In a recent interview, concert pianist Eliza Garth told The BayNet that she was performing Frederick Tillis’ “Spiritual Fantasy No. 4” inside St. George’s Episcopal Church when the weight of the setting struck her. The historic church, founded in 1638, was built during a time when the Episcopal Church “was the church of the landowners, who were also slaveholders.”

“The film ‘Shall We Gather’ was inspired by a work of music: Frederick Tillis’ “Spiritual Fantasy No. 4” for piano solo,” Garth said. “As I played Tillis’ piano piece at St. George’s, I was struck by the significance of that music being performed in that space, a space built by the hands of enslaved people.”

She knew the congregation was already reflecting on its early history.

“I also knew that the congregation at St. George’s was interested in coming to terms with its own difficult early history,” she said. “So I started thinking about a film that would weave together storytelling, music and documentary elements to invite people to consider that history and how its ripple effects continue to play out today.”

Several conversations with the Rev. Gregory Syler followed, and, as Garth put it, “‘Shall We Gather’ grew from there.”

About The Film

“Shall We Gather” is a short documentary exploring the shared and segregated history of St. George’s Episcopal Church and Bethesda United Methodist Church in Valley Lee. Through personal interviews, historical reflection and specially recorded music, the film examines how slavery and segregation shaped the community and how open dialogue, listening and collaboration can foster reconciliation and healing across generations.

Expanding The Story

What began as a smaller concept quickly expanded.

“At first we pictured a very short video combining the Tillis ‘Spiritual Fantasy’ with interviews,” Garth said. “But it quickly became clear that we would need a larger format in order to tell the story — and the individual stories — properly.”

She said the finished film places greater emphasis on testimony and history than on the piano work that inspired it.

“It was more important to focus on the history and interviews,” she said.

In early discussions, Garth and Syler recognized that telling only one congregation’s story would be incomplete.

“During my initial conversations with Rev. Syler, we realized that it wasn’t enough simply to tell the story of St. George’s,” she said. “It was important also to explore the impact of that story on the community and on individual citizens by offering them the opportunity to speak for themselves.”

Just a few miles away in Valley Lee, Bethesda United Methodist Church has existed since the early 1800s as a historically Black congregation. While the two churches had partnered in recent years on the WARM program assisting people experiencing homelessness, they had “never had a deeper conversation about their earlier shared history,” Garth said.

“We reached out to the leadership at Bethesda to ask whether they would be interested in engaging in the film project, and we are profoundly grateful that not only were they interested, they were warmly receptive to the idea,” she said.

Confronting Living Memory

The film explores the lived experiences of Black and white residents who grew up under segregation in Southern Maryland.

“Some of the most powerful stories had to do with the small, everyday experiences of Black and white people who grew up during the Jim Crow era in Southern Maryland,” Garth said.

She described one participant from Bethesda United Methodist Church who is now a successful businessman in St. Mary’s County.

“One of the participants from Bethesda United Methodist, now a successful businessman in St. Mary’s County, spoke of being told as a child that he was never to go to St. George’s, that he would not be welcome there,” she said.

She also recalled reflections from a member of St. George’s.

“And one of the participants from St. George’s spoke about his teenage years and how, looking back, he can see the inequalities that he benefitted from, but that during his youth he couldn’t see them because, as both men commented, that’s just how things were.”

For Garth, the timeline itself was revealing.

“It was eye-opening to learn that the old Jim Crow rules were still in place in the county as recently as the late ’70s — less than fifty years ago,” she said. “I first came to the county in the late ’80s and had no idea that segregation was such a recent thing.”

During filming, she said creating the right environment was essential.

“It wasn’t so much a challenge, but rather a very high priority, for us on the production side to create a quiet and safe environment for the people — both Black and white — who had agreed to be interviewed,” she said.

The Power Of Music

Though the Tillis piece is not featured prominently in the final cut, music remains central to the documentary’s tone and message.

“Music’s power can move people in ways that words can’t, and can touch them more deeply, in a realm beyond words,” Garth said. “It can say things that are too difficult to speak. And it can awaken kinship among listeners of divergent backgrounds, beliefs and outlooks.”

She said every musical element was chosen intentionally.

“We gave a lot of thought to the musical selections because we wanted the music, and musicians, to be directly connected to the film and its subject matter in every way possible,” she said. “So all of the music in the film — including the background music — was chosen for its themes, all of the musical selections were specially recorded for the film production, and each musician in the film has a special connection to St. Mary’s County.”

Shaping The Story On Screen

Naeem Cobb, director of “Shall We Gather,” participated in the project from its earliest stages, joining preliminary conversations and virtual meetings with the advisory group in the spring of 2025.

As the concept developed, Cobb advised the team on how best to structure the narrative. He suggested incorporating on-camera interviews to allow participants to speak directly about their experiences. By the time filming began, he had developed a strong rapport with those involved.

Filming took place over four days in June 2025, followed by the editing process. Throughout production, Cobb fostered what organizers described as a highly collaborative environment, offering both time and creative insight to shape the documentary’s direction.

Cobb emphasized the importance of exploring and sharing African American history as an essential part of American history. For those involved in the film, that perspective became central to the project’s purpose — underscoring that understanding the nation’s history requires acknowledging both the struggles Black Americans have faced and the significant contributions they have made.

Community Voices

Voices from both congregations, Bethesda United Methodist Church and St. George’s Episcopal Church, reflect the deeply personal nature of the project. Participants described the film not only as a historical examination, but as a transformative experience within their own faith communities.

For Alma Jordon, a longtime member of civic organizations including the United Committee on Afro-American Contributions and a participant on the advisory committee, the process brought reflection.

“Just realizing that seemingly (though it had been) not so many years ago there was such a separation between our two churches,” Jordon said. “That in recent years I’ve attended several concerts and activities at George Episcopal Church and that growing up in St. Mary’s County as a teen/young adult I probably wouldn’t have been welcomed there for church service or anything.”

Sharing history on camera felt important, she said.

“I felt comfortable with the experience, as well as having the opportunity to share parts of history that should be told especially when it involves those who are no longer here to tell their stories themselves.”

Within her congregation, she said, participation was welcomed.

“My congregation was absolutely elated to have the opportunity to share with St. George and their congregation,” Jordon said. “It was a true learning and sharing experience for all of us.”

Nathaniel Lawrence, a member of the leadership at Bethesda United Methodist Church and a member of the film’s advisory group, said he never expected to be part of a documentary about race relations between the two churches.

“I never thought I would be involved in a documentary about race relations between ST GEORGE’S EPISCOPAL CHURCH AND BETHESDA UNITED METHODIST CHURCH,” Lawrence said. “I feel very blessed to be able to talk about these experiences back then and now.”

“I was a little nervous at first then I realized I was BLESSED to still be here 50 yrs later to let my Granddaughter, nieces and nephews and others know what it was like in those days when you could WORSHIP GOD in one CHURCH and not the other because you were Black,” he said.

“It was especially meaningful to me to hear how some ST George’s members felt about the situation,” Lawrence added. “Hearing their comments made me want to participate in the discussion.”

Karol Wolgemuth, a member of Resurrection Parish, the home parish of St. George’s, attended every congregational meeting held for “Shall We Gather” and is part of the leadership team continuing its work.

When asked about a transformative moment during filming, she recalled a childhood story shared by Rev. Beverly.

“Reverend Beverly shared a story from his childhood. He and his siblings were walking to the black school when his father drove by in a bus taking children to the white school. Although there was plenty of space on that school bus, he was not permitted to take his own children. Imagining the pain that his father felt and the difficulty the children had understanding that left such a powerful impression on me. I have become even more respectful of the ways that he and others in his church navigated the cruelty of racism and have not been paralyzed with hate, bitterness and resentment.”

Discussing personal experiences on camera, she said, fostered connection.

“There was so much trust and respect in that group that from the beginning there was such a level of openness and comfort in that space. There were people from the other church that I knew on an acquaintance level. The sharing of our experiences allowed an amazing opportunity to know these people in a much deeper way. And even people from my own church — I now have a better understanding of their life journey.”

Within her congregation, she said, there was recognition of the project’s significance.

“There was a recognition that this could be a powerful experience. There was enthusiasm and interest in the project. There was a willingness to confront and admit to our collective past lack of efforts in building and establishing relationships.”

A Message Beyond Two Churches

While the film focuses on two churches, Garth said its message is broader.

“While the film tells a story about two churches, its message is for all communities: that reconciliation and true progress begin with reaching across ancient divisions, with an openness to sharing stories and to listening with respect and empathy to the stories of others,” she said. “That’s where the human connection is made that transcends race.”

She believes the issues raised extend far beyond Southern Maryland.

“I believe that the issues explored in the film play out in all communities in our country, and, I might add, not only in the South,” she said. “Great strides have been made in our country thanks to many courageous and principled people, but our country is still a work in progress in the arena of race and healing.”

As audiences attend the March 7 screening, Garth hopes they leave changed.

“I hope audiences will leave feeling more in touch with their own humanity and that of people who may look different but are the same in all of the ways that really matter,” she said. “I hope the film imparts a greater awareness of the everyday ways racism impacts all of our lives — regardless of our race or background — and how the act of listening with an open mind can begin to change that. Not only does racism hurt those who are the targets of it, but it also hurts those who are given advantages because of it.”

Looking ahead, she sees the documentary as a tool for continued dialogue.

“We all gain when everyone’s rights are respected and when opportunities are available to everyone,” she said. “I hope ‘Shall We Gather’ will be a useful resource for educational and civic settings, houses of worship, senior communities and other groups. I hope the story of these two congregations will offer people an example of how communities can gain greater respect and appreciation for each other, and follow that with actions that will guarantee a more equitable society.”

Reserve a seat here for the next showing at Cole Cinema, St. Mary’s College of Maryland Campus Center. Admission is free but registration is required:
https://www.eventbrite.com/e/shall-we-gather-a-new-documentary-tickets

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