Mid-Shore Music: William Thomas and his Ten Years with Tidewater Singers

While William Thomas was professionally trained as an organist when he joined the Talbot County Public Schools District in 1986, his assignment to direct choirs and music theatre at Easton High School led him to a love affair with choral work and the challenges and delights that come with leading large groups of gifted singers.

That passion didn’t go away when he decided to move to Chesapeake College in 2008 to become an associate professor of music. The difficulty came with the realization that the community college did not have an active choral group at that time. He, therefore, reached out to the Tidewater Singers based in Talbot County to rekindle his love affair with cappella and major choral works.

And for the last ten years he has been the Tidewater Singers director, guiding the twenty-five person volunteer choral group through the classic repertoire starting from the 16th Century to the most recent hits from Broadway.

The Spy spent some time with the St. Michaels resident in his classroom at Chesapeake College to talk about this remarkable decade of enjoyment as he describes the joy that comes with using the human voice as its own musical instrument and remarkable fellowship that comes with music.

The Tidewater Singers will be offering their Spring Concert May 11, 12 and 13 this year in both Talbot and Queen Anne’s County with the time of “Love Songs Through the Ages.”

This video is approximately three minutes in length. For more information about the Tidewater Singers please visit their website here

TIDEWATER SINGERS
LOVE SONGS through the Ages
William Thomas, director and Lyn Banghart, Accompanist

Friday, May 11, 7:30pm
Trinity Cathedral
315 Goldsborough St., Easton, MD

Saturday, May 12, 7:30pm
Church of the Holy Trinity
502 S. Morris St., Oxford, MD

Sunday, May 13, 4:00pm
St. Pauls Episcopal Church
301 S. Liberty St., Centreville, MD

TICKETS for Friday and Sunday:
$12 in advance at tidewatersingers.org and at Crackerjacks, $15 at door, students free
There will be a Good Will Offering on Saturday
Reservations at 1-888-752-0023

 

Vibraphonist Chuck Redd brings his “New York All-Stars” to Easton

At just 23 years old, Bebop darling Veronica Swift is rapidly gaining recognition as one of today’s best young jazz singers.

And she’s got the accolades (and awards!) to prove it, including a second-place win at the prestigious 2015 Thelonious Monk Jazz Competition and stage credits, like a solo performance at NYC’s Tribeca Performing Arts Center in 2016, followed by a headlining spot at the Telluride Jazz Festival.

Catch Swift

“She’s really taken off,” says Al Sikes, Chesapeake Music’s Jazz Committee Chairman (and producer of the Monty Alexander Jazz Festival).

From swingin’ to soulful, Swift’s flawless vocals naturally demonstrate her passion for, and innate understanding of, jazz standards—a talent that translates into mesmerizing performances.

Catch Swift on her rise to the top, when she shares the stage with renowned jazz vibraphonist Chuck Redd on Saturday, May 12th. The show, Jazz Impressions of Wonderful Melodies, takes place at 8 p.m. at the Academy Art Museum in Easton.

The performance promises to be one of Jazz on the Chesapeake’s most interesting and lively shows yet. In addition to Swift’s guest appearance, Jazz Impressions will feature some of New York’s best talent—aptly dubbed for this performance the “New York All-Stars”—pianist Larry Fuller, saxophonist Will Anderson, and bassist David Wong.

A familiar face to fans of the annual Monty Alexander Jazz Festival, Redd is a seasoned performer on the vibraphone and drums. In addition to his musical finesse, Redd is the mastermind behind many of the makeshift ensembles that grace Easton’s jazz scene, often at the behest of Sikes.

Chuck Redd

According to Sikes, Redd’s ability to seamlessly integrate musicians, who sometimes have little experience playing together, is impressive.

“I tell him I’ve got an open date, we’ll discuss themes, and he’ll pull it together,” he says. “Chuck’s never failed.”

Yet, how do a handful of musicians who’ve barely met produce such a wonderful and seemingly well-rehearsed performance?

“They have a language they share that transcends the technical explanation,” says Sikes, adding that familiarity with the Great American Songbook is key.

Along with jazz fundamentals, another essential element that provides these musicians the ability to perform together with little practice time is jazz’ improvisational nature, explains Sikes.

Still, it remains a marvel to witness on any occasion.

Unlike other Jazz on the Chesapeake concerts, Sikes approached Redd with the suggestion of adding Swift to his “All-Star” lineup.

Sikes first saw Swift perform more than a decade ago, when the then 10-year-old joined her parents—her father, the late bebop pianist Hod O’Brien, and mother, vocalist Stephanie Nakasian—on stage in Western Maryland.

Last summer, he caught a performance of hers in New York, which demonstrated Swift’s mastery of traditional swing and left Sikes determined to bring her to Easton.

And while Redd and Swift have yet to share the stage, Sikes isn’t nervous. If anything, he knows it’ll give to a more exciting, fiery performance.

“The band will swing and the vocalist will soar,” he says. “What a wonderful combination.”

Presented by Jazz on the Chesapeake, a program of Chesapeake Music, Jazz Impressions of Wonderful Melodies will begin at 8 p.m. Saturday, May 12th, at the Academy Arts Museum in Easton. General admission tickets are $40. To purchase, call 410-819-0380 or visit Jazzonthechesapeake.com.

Author Kevin J. Hayes Wins 2018 WC’s George Washington Prize

Author and historian Kevin J. Hayes has won the coveted George Washington Prize, including an award of $50,000, for his new book, George Washington: A Life in Books. One of the nation’s largest and most prestigious literary awards and now in its 13th year, the George Washington Prize honors its namesake by recognizing the year’s best new books on the nation’s founding era, especially those that engage a broad public audience. Conferred by George Washington’s Mount Vernon, the Gilder Lehrman Institute of American History, and Washington College, the award will be presented to Hayes on May 23 at a black-tie gala at Mount Vernon.

In George Washington: A Life in Books, Hayes presents an intellectual biography of Washington that should permanently dispel popular misconceptions of America’s leading Founding Father as a man of all action and no ideas. Washington scholars have long known that he owned an impressive library of more than 1,300 volumes. Hayes has gone further by meticulously paging through Washington’s surviving books held at the Boston Athenaeum, the Washington Library at Mount Vernon, and other collections, as well as nearly 900 pages of Washington’s notes on his reading, to create a portrait of him as a reader. By closely examining Washington’s notes, Hayes has uncovered an intellectual curiosity that dozens of previous biographers have missed. As a young man, Washington read popular serials such as Gentleman’s Magazine and The Spectator, which helps to bridge the long-imagined gap between him and his learned contemporaries like Franklin, Jefferson, and Adams.

Hayes’s project began with a fellowship that he received in 2008 from Washington College’s Starr Center for the Study of the American Experience. The award allowed him to spend a month working with rare volumes at the Boston Athenaeum, which holds a large portion of George Washington’s personal library.

“While Washington never attended college and felt self-conscious about his lack of formal education compared to some of his peers, he was a broadly inquisitive man who found pleasure as well as instruction in books,” said Adam Goodheart, the Starr Center’s Hodson Trust Griswold Director. “At his plantation along the Potomac River, remote from the intellectual centers of the Enlightenment, the volumes on his shelves formed his high-speed internet connection: the gateway to a global community of thinkers, writers, and leaders.”

Established in 2005, the George Washington Prize has honored a dozen leading writers on the Revolutionary era including, Lin-Manuel Miranda, creator of the hit musical Hamilton. For this year’s prize, a distinguished jury comprised of notable historians Denver Brunsman, Flora Fraser, and Peter Onuf, selected the seven finalists from a field of more than 50 books.

Mount Vernon’s event on May 23 will also honor the six finalists for the 2017 prize:

S. Max Edelson, The New Map of Empire: How Britain Imagined America before Independence (Harvard University Press)
Eric Hinderaker, Boston’s Massacre (Harvard University Press)
Jon Kukla, Patrick Henry: Champion of Liberty (Simon & Schuster)
James E. Lewis, Jr., The Burr Conspiracy Uncovering the Story of an Early American Crisis (Princeton University Press)
Jennifer Van Horn, The Power of Objects in Eighteenth-Century America (University of North Carolina Press)
Douglas L. Winiarski, Darkness Falls on the Land of Light: Experiencing Religious Awakenings in Eighteenth-Century New England (University of North Carolina Press)

Mid-Shore Arts: AAM’s 1st National Photo Prize Awarded to Antonio McAfee

Recently, photographic artists of all walks and every part of the country were invited to submit their latest works to a new national juried show at the Academy Art Museum this spring.  The exhibition, now on display, highlights the current state of photography across a broad spectrum with artists submitting all types of photographic works including digital, analog, and other alternative processes.

The juror for the igural program was Sarah Stolfa, C.E.O. and Artistic Director of the Philadelphia Photo Arts Center. Sarah is a working fine-art photographer herself,  and educator with over eight years of experience in photography, education, curatorial work and digital lab creation and management.

The first winner of “Best of Show” was awarded to Baltimore-base Antonio McAfee for his unique use of oval formatted portraits from The Exhibition of American Negroes presented in 1900, organized by W.E.B. Du Bois and Thomas Calloway.

The Spy captured a few moments of the Saturday afternoon event.

This video is approximately two minutes in length. For more information about the Academy Art Museum please go here

TAP Presents ‘Steel Magnolias” with a Special Local Twist

No one can ever accuse Tred Avon Players theatre director Joe Tyler of not doing his homework.

Tasked with setting the stage and personalities of a hairdressing salon set in the 1980s, Joe immediately recruited his friend and fellow TAP colleague Dana Haddaway of St. Michaels to be his assistant director.

Why? Because Dana has actually been running her own beauty salon out of her home off of Pea Neck Road for thirty years. Not only did she have the knowledge and the equipment of hairdressing of that era, Dana also had the unique perspective of someone who had bonded with her customers over the course of thirty years, which matched almost precisely with the famed “Miss Trudy’s Salon” that becomes the central focal point for one of the most beloved theatrical productions of the modern stage.

The Spy caught up with Joe and Dana at Dana’s Hair Design a few weeks ago to talk about their partnership and on the play’s themes of women friendships, love, and the American deep South.

This video is approximately two minutes in length. For more information about Tred Avon Players and ticket sales please go here

Art Commentary: Elizabeth Casqueiro’s ‘Entrances and Exits” by Heather Harvey

The paintings in Elizabeth Casqueiro’s new exhibition straddle and combine abstraction with realism. Her imagery nearly comes into focus, only to dissolve and shift into various alternate readings. Brightly saturated colors and vivid painterly strokes seem jubilant and humorous in moments, then soften into quiet passages and muted colors, then shift again into dark, brooding, more sinister marks. These divergent painting strategies allow multiple storylines and moods to co-exist on one canvas.

Entrance and Exit

The multilayered, fluctuating quality may grow out of Casqueiro’s biography. She has lived most of her adult life in the United States, but her birth and formative years unfolded in the authoritarian malaise of post-world war Portugal. As a child she was deeply drawn to the promise and excitement of American culture. Imported pulp fiction and comic books offered her a heady mix of hope, heroism, drama, risk, and romance. This gave young Elizabeth what she calls her first “early glimpse of an outside world,” beyond home, neighborhood, country, culture, and the confines of her own mind. Many decades later and a fraught American political landscape have added new layers of complexity to the narratives of her youth.

In some paintings Casqueiro draws mainly from superhero stories. She breaks compositions down into smaller areas loosely suggestive of comic book panels. Unclear dramas unfold with flashes of superheroes, villains, and good (hopefully) conquering evil. Other paintings allude more to theater, drama, and the stage as metaphors for life. Casqueiro is particularly interested in the tension between private, inner life versus social, communal life. She recognizes that many consider private inner life as more ‘authentic’ or ‘true,’ but Casqueiro doesn’t see it quite that way. For her, the social masks and personas we wear are as much a part of our identity as solitary periods spent with oneself.

Come On Batman

In her work Casqueiro mines both the heroic exuberance of childhood and the complex absurdities of adulthood. Childhood becomes more complicated then we typically give it credit for, and adults not so different from their younger counterparts. Superheroes and dramatic personas perhaps reflect our ego’s need for respite and protection from the barrages of reality. They create a barrier between delicate interior experience and pressing external demands.

Elizabeth Casqueiro’s solo exhibition Entrances and Exits is open April 14 through July 15, 2018 at the Academy Art Museum. Reception: April 20th 5:30-7pm and Artist Talk: May 4th at 5:30 pm. For more information on Elizabeth Casqueiro’s work see https://www.elizabethcasqueiro.com

Heather Harvey is an artist living in Easton, MD and Associate Professor and Chair of the Art and Art History Department at Washington College.

Mid-Shore Arts: A Quick View of ‘Beginnings’ at the Massoni

With fourteen artists making up the Massoni Gallery’s spring show in Chestertown entitled Beginnings, it’s pretty hard for the Spy, or anyone else for the matter, to adequately capture in words the brilliance of the new work from these gifted masters.

We, therefore, found it helpful to once again use images and video to give our readers just a small sense of the collective magic of the art displayed to encourage visitors to drop by the High Street gallery for their own inspection to see the work of James Tatum, Elizabeth Casqueiro, Deborah Weiss, Heidi Fowler, Joe Karlik, Susan Hostetler, Blake Conroy, Katherine Allen, Marc Castelli, Alessandra Manzotti, Elizabeth DaCosta Ahern, Larry Schroth, Vicco Von Voss, and Katherine Cox.

Beginnings will close on May 4th

This video is approximately one minute in length. For more information on Massoni Art please go here

 

The AAM @ 60 with Ben Simons and Anke Van Wagenberg

There are just a handful of cultural and educational institutions that unite the five counties of the Mid-Shore of Maryland.  Those that come to mind immediately are such legendary schools as Washington College, UM’s Horn Point Labs, and Chesapeake College as well as those that celebrate our cultural heritage like the Chesapeake Bay Maritime Museum and the Sultana Educational Foundation.

But there is only one organization that has been successfully uniting the region’s centuries-old love affair with fine arts, and that would be the Academy Art Museum. And that remarkable center for art education and exhibitions hits an impressive milestone this year as it reaches its 60th year of existence and there is good reason to celebrate that fact.

Founded by local artists and collectors, the Academy has grown from relatively modest roots to a superb example of what a regional arts institution powerhouse can be.  Now with literally hundreds of classes, lectures, field trips, and, of course, world-class art exhibitions taking place every year, the AAM has rapidly becoming known nationally as the “small but mighty” art center.

When any institution of this caliber reaches 60 years, it is almost mandated that it take stock of its accomplishments to share with its members, donors, and the general public, what it has been able to achieve since it opened its doors. That it indeed the case with the Academy this year as it offers special programming and art exhibitions to celebrate this remarkable achievement.

It also was an excellent time to review the museum’s permanent collection with the intention of showcasing the very best of the best for visitors to enjoy the extraordinary diversity of visual art, sculpture and photography the AAM has secured through the generous donations of art collectors, many of them local, or through the wise and selective use of their modest annual acquisition funds.

The Spy sat down with AAM director Ben Simons and chief curator Anke Van Wagenberg this week to talk about the museum’s artwork and the difficult task of selecting 120 of the most significant examples from a total of 1,500 works which will be shown in two major exhibitions during the year.

This video is approximately three minutes in length. For more information about the Academy Art Museum’s Diamond Exhibition Project please go here

 

Mid-Shore Arts: Listening to the Earth Art of Stewardship at RiverArts by Mary McCoy

An egret stalks through the dark water of a marsh in Karen Klinedinst’s iPhoneography print “The Scout.” With its painterly touches and eerie glow, it’s strange and dreamlike, and it gets immediately under your skin. As environmental artists and the curators of this year’s annual “The Art of Stewardship” show at RiverArts, Howard and I chose the theme “Listening to the Earth” to encourage artwork and poetry that, like Klinedinst’s, is inspired by paying close attention to the world around us. What we were looking for is the kind of honed awareness that germinates an open, honest understanding of our situation and responsibilities as part of the community of this earth.

Karen Klinedinst’s iPhoneography print “The Scout.

Does art have the power to effect change? It’s hard to forget an image like “The Scout.” It’s achingly beautiful, yet there’s death everywhere. Rotting vegetation and the skeletons of trees are part and parcel of this intricate and delicate environment. A marsh is a fertile place where fish and crabs spawn and egrets find abundant food, yet stay on high alert lest they, in turn, become dinner for an eagle or raccoon. The strength of Klinedinst’s image is that it takes in and reveals the wholeness of this place. The making of a powerful painting or a poem requires a journey into attentive awareness. It’s a fascinating and nourishing process not only for the artist but for viewers as well, if they, too, approach it with similar open, inquisitive mindfulness

Kate McGraw’s poem, “A Boy and his Dandelion,” may seem at first to be chiefly about a child’s sense of wonder at seeing the flower’s seeds fly into the air, but it’s much more. McGraw summons the thrust of the wind and the scents radiating from the boy’s warm body, skillfully pulling us into the physicality of the moment. She uses words to paint the gossamer, glinting fragility of the tufted seeds and the mystery of where they are going, complete with a hint of their procreative objective. The boy himself imagines them as paratroopers, bravely adventuring into unknown places, and with this, a tingle arises in the back of the mind. This is a primitive urge—to ascribe intention to inanimate objects, to think of them as having aspirations and emotions, in short, as having consciousness.

What leaps to mind is the beliefs of indigenous people in tree spirits, water spirits and the like. These are people who live intimately with the land, aware of its every mood and cycle and the intricacy of the relationships of its plants and animals. Like Klinedinst’s egret, they are wholly dependent on their environment. Far from being quaint and naïve, might their superstitions have a certain wisdom? If we think of animals and plants as having consciousness, however different from our own, we might pay more attention to the ways they live and how their interactions and well-being affect our own survival. Such an approach would develop empathy for species besides our own and encourage a developing understanding of the interdependence of all life on earth.

There’s a prickly sensation of taut vitality emanating from the antler forms in William Willis’s large painting. They feel alive and

Who’s Afraid of the Dark by William Willis

sentient. Behind them are half-hidden forms, perhaps an animal hide stretched to dry, a bowl, a doorway, an abstracted tree—layers of activity and history giving witness to Willis’s search to find vital force in his subject matter. There’s something almost scary about this painting which Willis acknowledges with the title “Who’s Afraid of the Dark.”

It’s actually quite unnerving to think that nature is alive and aware of us and that humans are by no means in control. Gary Irby succinctly calls up the creepy feeling of an animal watching from the shadows with the piercing eyes and bristling sticks of his sculpture “Nature’s Watching.” But even more powerfully, this work mischievously prods at the sense of guilt and looming doom that lurks in all of us in these days of runaway fossil fuel extraction, snowballing pollution and escalating climate change.

You might think that art and poetry about earth stewardship would tend to scold our profligate ways—or weep over them, but few of the works in this show could be classified as “protest art.” The closest are Irby’s “Nature’s Watching” and his ceramic pot with two talking heads conspicuously facing in opposite directions with the title “Discussing Selling our Environment.” Also in the running is Rebecca Clark’s “Oblivion” with its beach-goer blandly cocooned behind sunglasses and earbuds, oblivious to the devastations of storm and fire raging behind her.

Most of the show’s works are focused on exploring and celebrating the breadth of the subject: earth and its ecology. There are whales, domestic birds, wild birds, wild animals (deer, lions, elephants), insects, Eastern Shore waterscapes, and Antarctic ice. There is the vastness of huge clouded skies and the intimacy of a ladybug stalking aphids on a fragile flower.

Curiously, with the exception of Anita Kusick’s lush fields of flowers in “Gathering (Pike Farms – Conserved by Peconic Land Trust),” none of the works are about farming. Farmers are the principle stewards of land on the Eastern Shore, and it’s heartening to see more and more of them transitioning their land to organic from “conventional” farming (that is, planting Roundup-ready GMO crops managed with glyphosate and other chemicals). Likewise, it’s cheering to witness the widespread use of cover crops and forested shorelines to keep farm runoff out of waterways and to note the reintroduction of diverse crops and animal husbandry. Supported by a host of government programs, farmers are making a difference, as are hunters and organizations such as Ducks Unlimited that work to reestablish healthy habitats for wildlife.

“Nature’s Watching” by Gary Irby

In the call for submissions, we said “Art should bristle with energy and keep tugging at your thoughts.” It’s only when art has this kind of power to stimulate thought and encourage further investigation that it can trigger change for the better. The sense of childlike wonder that so many of these poems and artworks evoke is crucial in reshaping of our attitudes, and the edgy sense of danger in several of them acts as a much-needed spur to work for sustainable ways to live harmoniously with our earth.

If we fail in this, it’s serious. Life on earth will likely continue, though predications are that numerous species, including humans, will have disappeared and insects will be dominant. Quilter Christine Kamon chose to accompany her graceful “Dragonflies” with a quote from writer and artist Clive Barker that posits an idyllic future time when all traces of humans and our activities will be long gone and dragonflies and hummingbirds will flit in a golden afternoon. It’s a beautiful scene but one we’d like to postpone as long as possible.

Mary McCoy is an artist and writer who has the good fortune to live beside an old steamboat wharf on the Chester River. She is a former art critic for the Washington Post and several art publications. She enjoys kayaking the river and walking her family farm where she collects ideas and materials for the environmental art she creates, often in collaboration with her husband Howard. They have exhibited their work in the U.S., Ireland, Wales and New Zealand.

Recommended reading:
David Abram’s Becoming Animal
David Hinton’s Hunger Mountain
Andy Goldsworthy’s Time

Exhibition Dates: April 4 – 25
RiverArts 
315 High Street, Suite 106
Chestertown, MD 21620 United States

Chesapeake Film Festival’s Reel Gems: Five Questions for “Swimmers” Director Doug Sadler

Editor’s Note: When the Spy heard news that the Chesapeake Film Festival’s spring program, REEL GEMS, at the Oxford Community Center would be screening “Swimmers” directed by Oxford-raised Doug Sadler, we thought it was the perfect excuse to reach out to Doug to talk about this highly acclaimed film. Sadly, it turned out Doug was in New York City working on another project. So we have used our second best option and sent Doug five questions about “Swimmers.” 

The Spy: Of all the plots and stories you might have selected, why Swimmers?

Doug Sadler: The short answer is I don’t know. The longer answer is that it’s a mix of ingredients. My family discovered and explored the Eastern Shore by way of the water – we were living on a sailboat at the time- so I had both a love of life on the water and also a very direct introduction to the unique landscape that is the Chesapeake Bay. Through trips to Smith Island and all over the Bay by boat, I became more aware of the lifestyle and tradition of watermen and appreciated the beauty of workboats on the water at dawn, not to mention seafood itself. A lot of those things stuck with me as I went through college, film school in Los Angeles, etc. Like probably every filmmaker ever, I was interested in telling a story about growing up, about the loss of innocence and the shifts that happen in life.

The life-cycle of the Maryland Blue Crab – which in order to grow sheds its’ shell leaving it soft and vulnerable for a period of time – resonated with those themes. In the film, each character is going through a period of growth and vulnerability – a “soft shell” period if you will.. Telling it all through the eyes of a 12-year-old girl was both a nod to director Terrence Malick (Days of Heaven) and my way of getting closer to innocence and instinct and connection to nature. And then there’s the fact that the Greek name for Maryland Blue Crab translates as “beautiful swimmer” – which is also the inspiration for William Warner’s Pulitzer Prize-winning book “Beautiful Swimmers”… so from that whole stew of influences, the film was born.

Spy: Do you think Swimmers has special meaning for those of us who live on the Eastern Shore?

DS: I hope so. I think most people who live here have a special appreciation for the nature and lifestyle of the Eastern Shore. So, I hope seeing it on screen helps people appreciate both the beauty and vulnerability- and also get ready for summer crab feasts!

Spy: Was it hard to produce the film in Talbot County?

DS: While there were many, many challenges to producing the film, shooting in Talbot County wasn’t one of them. Although we did face a hurricane and housing crew here increased the cost, I don’t think it would have been the same if we’d shot in Canada. And the local community – from many, many individuals to the fire department and police in Oxford, the police in Easton, the Bixler’s of Oxford-Bellevue Ferry, the Tred Avon Yacht Club, locals and watermen whose boats we rented, restaurants, hotels and also people outside Talbot County like Jack Gerbes and the Maryland Film Office, Jed Dietz, and the Maryland Film Festival – everyone was incredibly supportive.

Spy: Do you think there are universal messages in the film that everyone can relate to?

DS: Of course I hope so. It’s a story about characters facing particular challenges, and so the theme operates on a subtle level … but part of the message in there is that growth and change are constants that require a measure of vulnerability and if that’s resisted or forgotten, well, both life and nature have a way of delivering wake-up calls.

Spy: Is there anything you would change or alter about the film if you had the opportunity?

DS: Not particularly, though I suppose as the father of a teenager there are one or two scenes I might tone down a bit for a younger audience – or at least to make things a little more comfortable for their parents.

Swimmers will be shown on April 20 at 6pm. For more information about Reel Gems and tickets please go here.
Photo of Doug Sadler by Chris Moore

Swimmer Credits 

WINNER – Best New American Film, Seattle Int’l Film Festival
WINNER – Best Director, Best Feature, Savannah Int’l Film Festival
WINNER – Best Ensemble Cast, Sidewalk Moving Picture Festival
WINNER – Best American Film, Festroia Int’l Film Festival (Portugal)
WINNER – Best Screenplay, Best Actor, Cartagena Film Festival (Spain)
FINALIST – Humanitas Award