Debuted in October 2025, the CBMM Theater celebrates the power of storytelling by sharing selections from its library of historic and documentary films throughout the year.

This new space, located in the former Waterfowling building on Navy Point, will highlight on-demand short films and longer features that share mission-related stories, including the 2022 Emmy-winning documentary “The Long Shore” that takes viewers on a journey through the history of the Chesapeake Bay through the eyes of CBMM’s Curatorial team and the shipwrights of its working Shipyard.

CBMM also plans to showcase a variety of films featured through the years during Maryland Public Television’s Chesapeake Bay Week, many of which spotlight CBMM’s campus, collections, and staff expertise. The theater will regularly showcase the works of the celebrated Bay environmental filmmaking team of Dave Harp, Tom Horton, and Sandy Cannon-Brown, as well.

The CBMM Theater can also be utilized for events and meetings.

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This special exhibition is set to open on the second floor of the Chesapeake Bay Maritime Museum’s Changing Exhibitions Gallery on Friday, Feb. 27, 2026.

Bear Me Into Freedom: The Talbot County of Frederick Douglass explores how Frederick Douglass’ early life in Talbot County, Maryland, shaped his journey to become a prominent abolitionist, writer, and orator. The exhibition is organized around a series of waypoints that guide visitors through key moments and locations from his life, from birth to his later returns as a free man, and how the landscape shaped these experiences.

A large, central historic map of Talbot County will serve as an introduction and a visual guide, outlining the places, routes, and timeline of Douglass’ life in the area. A graphic timeline will connect these waypoints and fill in events beyond his Maryland experiences.

Waypoints and Experiential Highlights

Tuckahoe Creek (1818): This section focuses on Douglass’ early childhood. Experiential objects include a haul seine net and a net-making activity to represent his grandmother’s work and the landscape of Tuckahoe Creek.
Wye House (1824): Visitors will learn about Douglass’ time at the Lloyd Plantation. The juxtaposition of the estate with his harsh living conditions is highlighted through objects like an eating tray/trough and door to the closet where he slept to show his limited rations and shelter.
Fells Point & Holme Hill (1826-1827): This waypoint explores Douglass’ “passage” to and from Baltimore, emphasizing his transition from an enslaved boy to a person gaining literacy which led him “to abhor and detest slavery, and my enslavers.” Visitors can see and interact with books and his flour barrel desk to represent his efforts to learn to read and write.
St. Michaels & Wades Point Farm (1833-1834): This section covers his time in the “drab oyster town” of St. Michaels and his brutal year with Edward Covey. An ox yoke will represent his labor and the attempt to “break” him, and his determination to shed the “yoke of tyranny,” a turning point for his self-determination and sense of power.
Freeland Farm (1835-1836): This waypoint centers on his escape attempt and his time teaching others and practicing oratory in a Sabbath school under oak trees. The exhibit will highlight the 20-mile walk to Easton jail after his arrest for plotting an escape by log canoe.
Fells Point (1836-1838): This section marks his return to Baltimore and his final escape disguised as a free sailor. A caulking interactive lets visitors experience this part of Douglass’s life firsthand. This occupation provided him with valuable skills, access to information, and a pathway to freedom disguised as a free sailor.
Return to Talbot County (1877-1893): The final waypoints cover Douglass’ returns to his birthplace as a celebrated figure. Guests will be able to stand at a pulpit reminiscent of the one at Asbury UMC to read Douglass’ words. A writing station will also give visitors an opportunity to write a letter to Douglass, putting themselves in the mindset of someone from his time.

A key highlight of the exhibit is the central Frederick Douglass interactive. Using a tablet, guests will be able to ask questions and receive a curated response in an authentic voice from a “hologram” of Frederick Douglass, a closed-loop AI (artificial intelligence) interactive displayed on a large screen and built on inputs from the rich primary and secondary source material by and about Douglass.

The exhibit will draw from the black-and-white photography from Jeff McGuiness’ book, “Bear Me Into Freedom,” as well as historical documents and images, and hands-on activities to create an immersive and educational experience that contextualizes Douglass’ life story and allows visitors to follow his journey from enslavement to freedom and an indelible legacy. Viewing is included with CBMM general admission, which is always free for CBMM members.

Bear Me Into Freedom: The Talbot County of Frederick Douglass

Aaron Anthony, Douglass' enslaver, was overseer for the Lloyd family who lived at Wye House on the Wye River. (Photograph by Jeff McGuiness)

This special exhibition explores how Frederick Douglass's early life in Talbot County, Maryland, shaped his journey to become a prominent abolitionist, writer, and orator.

In 1824, when he was six, Frederick Douglass was taken by his grandmother from Tuckahoe Creek to live on the Lloyd plantation. (Photograph by Jeff McGuiness)

Located in CBMM’s Welcome Center, this long-term exhibition is set to open on Wednesday, July 1, 2026.

Dive into the heart of the Chesapeake in Stories from the Shoreline, a new long-term exhibition coming to the Chesapeake Bay Maritime Museum. Stories illuminates the perspectives of people and communities about their connection to the unique Chesapeake Bay landscape, a place where water and land intertwine. Drawing from oral histories, manuscripts, and memoirs, the exhibition’s firsthand accounts provide a richer understanding of pastimes and passions like shoreline fishing, waterfowling, muskrat trapping, riverside baptisms, plein air painting, market gunning, eco-tourism, waterfront clubs and gambling, and community conservation. Compelling documentary and historic photographs exhibited along with everyday tools, fine art, and folklife artifacts—including CBMM’s world-class decoy collection—contribute to the rich tapestry of the Chesapeake story through an immersive journey.

This image from CBMM's collection will be featured in the Stories from the Shoreline exhibition.

Stories from the Shoreline will open in the spring of 2026 in CBMM's Welcome Center.

A rendering of CBMM's forthcoming Stories from the Shoreline exhibition.

This special exhibition opened Friday, Sept. 27, 2024 and will run through December 2026.

Explore a StoryMap highlighting the Chesapeake’s maritime Underground Railroad

Sailing to Freedom: Maritime Dimensions of the Underground Railroad highlights little-known stories and describes the less-understood maritime side of the Underground Railroad, including the impact of African Americans’ paid and unpaid waterfront labor. Self-emancipation along the Underground Railroad was not entirely by overland routes. A great number of enslaved persons made their way to freedom using coastal water routes along the Atlantic seaboard, including the Chesapeake Bay. Enslaved African Americans often escaped by sea aboard merchant and passenger ships, or smaller watercraft. Based upon the book, “Sailing to Freedom,” the exhibition expands the understanding of how freedom was achieved by sea and what the journey looked like for many African Americans.

In Sailing to Freedom, guests will meet figures like Henry “Box” Brown, who escaped to freedom in 1849 by arranging to have himself mailed in a wooden crate to abolitionists in Philadelphia. This summer, teens in CBMM’s Museum Masters camp constructed a recreation of Brown’s crate for the exhibition, basing their design on descriptions from historic manuscripts.

The exhibition’s storytelling is supplemented by artifacts curated from CBMM’s collection and other sources. This includes a log canoe model representing boats used by freedom seekers in the mid-1800s, tools used by enslaved people working in the shipbuilding trade, and a painting of the Baltimore Clipper Young Brutus showing Black mariners on deck.

A portrait of the ship Katherine Jackson, which transported 272 African Americans sold from Maryland and Washington, D.C. to sugar plantations in Louisiana, reveals the dark history of enslavement, while a quilt crafted by members of the National African American Quilt Guild, on loan from the Baltimore-based Universal Sailing Club and commemorating the 10^th anniversary of the Souls at Sea remembrance ceremony, depicts 14 ships that transported captive Africans as part of the slave trade.

Sailing to Freedom was curated by New Bedford Whaling Museum Curator of Maritime History Michael Dyer and the University of Massachusetts-Dartmouth’s Timothy Walker, who edited the book that serves as source material. Major funding was provided by the National Endowment for the Humanities through the New Bedford Historical Society, with support from numerous community partners, and is brought to CBMM with assistance from the Portsmouth Museums (Va.).

Sailing to Freedom at CBMM is made possible, in part, with support from Delmarva Public Media, CBMM’s Regional Folklife Center under the Maryland Traditions program of the Maryland State Arts Council, and the generosity of the following supporters: Joan Richtsmeier and Bill Ryan, Beverly and Richard Tilghman, Meta and Bill Boyd, Dock Street Foundation, Dorie and Jeff McGuiness, and Marcia Shapiro and Rabbi Peter Hyman. Viewing this exhibition is included with CBMM general admission, which is always free for CBMM members.

This engraving, titled “Escaping from Norfolk, Virginia in Captain Lee’s skiff,” is featured in CBMM’s upcoming special exhibition Sailing to Freedom. Engraving, 1872 by C.H. Reed, from William Still, The Underground Rail Road.

On Oct. 6, 1998, Knapps Narrows Bridge, which connected Tilghman Island to the rest of the world, made its final move when it was sold to CBMM for just $1.

The drawbridge, which had opened an estimated 12,000 times since its construction in 1934, was set to be replaced. CBMM sought to preserve this piece of Talbot County maritime history and had the perfect place for it: the museum entrance.

The bridge was loaded onto a barge, transported 20 miles by water, unloaded at CBMM near the Hooper Strait Lighthouse, and then carefully driven on two tractor trailers to where it still welcomes visitors today.

Knapps Narrows Bridge, Photo by Bill Kepner, 1998. 0942.0037

Knapps Narrows Bridge, Photo by Bill Kepner, 1998. 0942.0044

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Nearly 30 boats from CBMM’s small craft collection—many of them on display for the first time ever—are highlighted in Water Lines: Chesapeake Watercraft Traditions, a long-term exhibition that opened within the new Welcome Center in the fall of 2023. The stories of the people who sailed, raced, used, designed, and built boats are at the center of this new look at familiar watercraft. Beginning with an overview of signature Chesapeake Bay vessels in miniature in the Model Gallery and an exploration of the skipjack as an icon of the region’s maritime industry and culture, Water Lines connects the “lines” of each vessel’s design and construction to human narratives of everyday work and play.

The stories are both familiar and surprising: from one-design sailboats on which young people learned to sail and which brought generations of sailors together for regattas, to traditional craft that served watermen, waterfowlers, and families alike, to mass-produced craft that enabled more universal access to the water. Images from CBMM’s rich photographic collection, along with carefully chosen artifacts and models, give dimension to the role that utilitarian objects such as boats play in Chesapeake life.

Junior sailors learning on a LJ scow. Photograph by R. Howe Lagarde, 1940, gift of the photographer. 1396.265

Jack Nelson driving a powerboat while another man skis. Photograph c. 1955, gift of Jack Nelson. 1459.6

Bushwhack boat built by Jim Holly used for hunting in icy waters. Photograph, c. 1970, gift of E.B. Griffin. 756.7

Work boats like Alverta, Pilot’s Gig, & Glide on display in Water Lines. Photograph by A.J. Daverede.

Waterfowling vessels on display in Water Lines. Photograph by A.J. Daverede.

Guests entering CBMM’s Welcome Center are greeted by four walls that will orient them to their CBMM experience and introduce them to the interpretive themes they will discover throughout campus during their visit. The overarching concept is that the essence of the Chesapeake Bay story is how people have connected to place over time. It is the story of how this unique environment—where land is intricately intertwined with water—has impacted individual lives and communities throughout history.

Through select objects and images, the orientation exhibition gives guests a taste of how the exhibitions and artifacts preserved at CBMM tell the stories of how people have interacted with the Chesapeake Bay, a source of bounty and income, a place of work and recreation, where traditional culture is valued, but change has been ever-present.

Skipjack Rosie Parks. Photograph by Tracey Johns, 2016. Collection of the Chesapeake Bay Maritime Museum.

Tangier Island, Virginia. Photograph by David W. Harp, 2007. Courtesy of the photographer.

A third-order Fresnel lens greets guests to the new Welcome Center as part of the orientation exhibition.

Volunteer is a replica of Leon Marsh’s 1990 Smith Island box-stern crab scrape Darlene, as documented in Paula J. Johnson’s book “The Workboats of Smith Island.” In the shallow waters around Smith Island, watermen harvest crabs in this type of workboat. Dragging a special dredge called a crab scrape behind the boat, they rake up peeler crabs hiding on the bottom. The boats have a low draft, allowing them to get around in shallow water, where blue crabs hide in eelgrass to shed their shells. The low sides on the boat make it easier to pull the crab scrape up over the side.

Built in 2002 by CBMM boat shop volunteers and staff under the supervision of Tom Howell, the boat was intended for on-water use by CBMM.

Built: 2002, St. Michaels, Md., by CBMM Shipyard volunteers and staff
Length: 29 ft., 4 in. (8.96 m)
Beam: 10 ft., 3 in. (3.14 m)
Draft: 1 ft., 8 in. (0.55 m)

Volunteer, Smith Island Crab Scraping Boat Replica, 2006. Collection of the Chesapeake Bay Maritime Museum, St. Michaels, Md.

Winnie Estelle was built in Crisfield, Md., by Noah T. Evans in 1920 and operated on the lower Chesapeake Bay for more than 50 years, carrying fish and oysters purchased directly from watermen and taking them to city markets or to big seafood packing houses for sale. A native Smith Islander and occasional boatbuilder, Evans named Winnie Estelle for his two daughters.

Winnie Estelle’s last Chesapeake owners were Smith Islanders Watson Marie Marshall, known as “Shug,” and his son Eugene “Gene” Marshall. They bought Winnie Estelle in 1960 and frequently took the vessel across the Bay to pick up fish scraps for rendering, to sell oysters, or to travel to the waterfront fish market in Washington, DC. When sold by the Marshalls 1975, Winnie was taken to the Caribbean as a cargo boat and, year later, was rebuilt for use as an island trader, carrying lumber from Honduras to Belize, and later as a charter boat in Belize.

Today, Winnie takes students out for educational programming, and CBMM guests and private parties out for Miles River cruises. In early 2012, Michael Whitehill of Centreville, Md., purchased the boat, which was donated to CBMM in 2014 by an anonymous donor.

Built: 1920, Crisfield or Smith Island, Md., by Noah Evans
Length: 64 ft., 9 in. (19.78 m)
Beam: 16 ft., 3 in. (4.97 m)
Draft: 3 ft., 6 in. (1.09 m)

Winnie Estelle, buyboat, 1920. Collection of the Chesapeake Bay Maritime Museum, St. Michaels, Md. Gift of an anonymous donor. 2014.0014.0001.