Though musicals and plays can come to Broadway via many different routes, the majority of them transfer from regional theaters, off-Broadway, the West End, or national tours. In this 2023–24 season, there are 20 musicals premiering on Broadway, including brand-new shows and revivals. Every single one of those productions was previously staged somewhere else.

This tactic has become even more common in the wake of pandemic shutdowns, as the financial risks of mounting a show have increased. The producing and creative teams can get a feel for how their show works in an environment that has less pressure and requires less money. They can take time to gauge audience reactions to the work, read reviews, and analyze public interest and ticket sales. And the process can ultimately lead to big career opportunities for the dancers and actors involved.

Theater Matchmaking

Pre-Broadway runs of a show can help more experimental, outside-the-box productions find financial investors and Broadway theater owners who are interested in helping them have a future life. Mandy Hackett, the associate artistic director of The Public Theater in downtown Manhattan, has helped shepherd 15 shows from the famous off-Broadway venue onto Broadway, including Hamilton and this month’s Hell’s Kitchen.

“Broadway has expanded a lot over the past 20 years,” she says. “More diverse work is coming from the nonprofit world, and producers are getting more comfortable taking risks with putting up a wider range of adventurous work. But that means there are so many shows vying for theaters, and theater owners are getting pitched from all different places day in and day out.” Previous runs give everyone a better sense of which shows and theaters might be good matches—aligning what’s right artistically for the show with what’s smart for the business of the theater.

A Feat of Logistics—and Creativity

Once a theater gets officially locked in, the real heavy lifting of the transfer begins. It’s a massive undertaking that, among other things, includes the public relations team finalizing the show’s artwork for marketing and advertising, the box office setting ticket prices and rolling out a calendar for announcements and sales, and the production team planning when their load-in can start and what the company’s rehearsal schedule will look like.

While all of this is going on behind the scenes, the show’s creative team is also hard at work. Initially putting up a full-scale version of their show somewhere other than Broadway gives them a chance to see what doesn’t translate effectively from the page to the stage. This information is then used to make changes to the piece in another workshop or during their Broadway rehearsal process. These could be small tweaks, like script and choreography edits or a costume redesign, or there could be bigger restructuring involving cutting, adding, or rearranging entire scenes, songs, or characters. Sometimes creative-team members can also change—a new set designer is brought in to shift the aesthetic, or a different choreographer is brought in to adjust the movement style.

The new Broadway revival of The Wiz toured 13 cities over the past seven months before it sat down on Broadway this month. Matthew Sims Jr. is a swing in the company, and he’s glad their show had an opportunity for a test drive. “Since COVID, it feels like a lot of shows are hanging on by a thread. Closing notices come quickly, it’s more expensive to put up a show and harder to get audiences to come,” he said. “But with touring, we’ve gotten to see what speaks to people from different places and from different demographics before putting it all together on Broadway.”

Choreography, especially, often undergoes significant revisions during the transfer process. I’ve had the pleasure of working on the choreography team of two shows that transferred to Broadway from out of town: How to Dance in Ohio, which premiered in September 2022 at Syracuse Stage and transferred to Broadway this past fall, and The Who’s TOMMY, a revival that we staged at the Goodman Theatre in Chicago last summer and is opening on Broadway this spring. While preparing for these transfers, there were a few things we needed to consider: What are the dimensions of the new stage and how will that affect the spacing and movement we created in the regional versions? Were there any parts of our choreography that we weren’t fully satisfied with last time that we now want to update? If we have new set pieces, new dancers, or new costumes, what changes do we need to make to accommodate the updates being made by other departments? For both shows, our dance teams did a lot of work in the studio to revisit what we initially created and brainstorm new ideas we wanted to implement for the next iteration.

Casting Variations

Changes may also be made to a show’s cast between a preliminary run and Broadway. Sometimes cast members need to be replaced for various reasons—the director or choreographer may feel that a performer wasn’t properly suited to the show, or maybe the dancer has booked another job that’s happening at the same time. Frequently, auditions are also held to add additional swings and understudies to bulk up coverage for a longer run. In the case of a transfer from London, using international talent can get complicated and expensive with visas, unions, and housing relocation fees, so often almost an entirely new company of American workers is needed.

Claire Burke, a casting director with Tara Rubin Casting, helped usher in last summer’s hit show Back to the Future from the West End. “While casting a transfer, there is already existing choreography and a set of skills that have been determined,” she says. “So instead of building a brand-new piece in collaboration with whoever we choose, we have to cast people who are able to do exactly what has been previously established. There can still be creative freedom and different interpretations, but it’s a balance between finding someone unique and still honoring the original piece.”

The Broadway Boost

The cast of a Broadway transfer will often, however, include many of the artists who have been attached since its early stages. The original dancers, specifically, tend to be integral to the creation of the show’s movement, and a lot of times the choreographer prefers to keep their ensemble intact.

And while a transfer is certainly not the goal for every show, being in a Broadway house brings with it the perk of potential widespread success, which can ultimately trickle down to all the hands that touched the production. Sims, who is making his Broadway debut with The Wiz, says he’s proudly enjoying the feeling of reaching the pinnacle of the industry and is excited for where it will all lead him.

The sense of community that can come from a big Broadway audience is also a boon for many artists. “I remember being in the Broadway house of one of the earliest transfers I worked on, and feeling how many more people were there laughing and applauding,” said Hackett. “Of course it’s equally as magical downtown at The Public, but there is something so cool about the increased scale of people gathering in that theater, on that day, to share in that moment together. It sticks with you.”

The post The Whys and Hows of Broadway Transfers appeared first on Dance Magazine.

“There’s a little bit of everything,” he says. “Tap is probably the only thing we don’t have.”

It may be an exaggeration, but not by much. In the show’s ballet- and contemporary-inspired tornado scene, a storm of dancers destroys Dorothy’s home and sends her off to Oz. Once she gets there, she’s swept up in a New Orleans–style second line that leads her down the Yellow Brick Road, where she meets a Tinman who pops-and-locks. Eventually, she is ushered into the Emerald City amongst a dizzying array of dances from the Black diaspora, from street styles out of Atlanta to Afrobeats to the South African amapiano. 

Though The Wiz may have one of the most versatile casts of dancers on Broadway right now—and, in Knight, a choreographer who has shown from his expansive commercial career that he can do pretty much anything—the show’s pull-out-all-the-stops movement isn’t about showing off. Instead, it’s a form of placemaking, says director Schele Williams, grounding Dorothy in elements of Black culture as she journeys through Oz and back home again.

“I liken Dorothy’s journey to a walk through the woods,” she says. “You can turn a corner, and it’s a gorgeous meadow. And then you can go another 40 yards and all of a sudden there’s a lake. Every turn, you can be in a new location with its own set of rules. It gives us permission to fully immerse ourselves in a new location.”

Tapping into his encyclopedic knowledge of dance genres to create a unique vocabulary was nothing new for Knight, who has spent years choreographing for top pop stars, most notably Beyoncé. What was new for him: the genre of musical theater, and the task of using those dances to tell a story.

And not just any story. The Wiz, a retelling of The Wonderful Wizard of Oz and a staple of Black culture, was revolutionary when it premiered in 1975 with choreography by George Faison, winning seven Tony Awards, including Best Musical and Best Choreography. A film adaptation starring Diana Ross and Michael Jackson, with choreography by Louis Johnson, came three years later. Several efforts to reignite a Broadway production have been in the works since, including a revival in 1984 that only lasted 13 performances, and another attempt in 2004 that never got off the ground.

This time, The Wiz team predicts, will be different. Williams believes the world needs this show, with its joy-infused score and hope-filled message, right now. And by taking the production out of the ’70s and adding some contemporary innovations—in addition to Knight’s genre-bending choreography, there are updates to the book by comedian Amber Ruffin; costumes by Sharen Davis (of “Westworld,” “Watchmen,” and Dreamgirls); a dazzling set by Hannah Beachler, of Black Panther; and a modernized score by music team Joseph Joubert, Allen René Louis, Adam Blackstone, and Paul Byssainthe Jr.—they hope it will become timeless.          

“I really wanted to create something that didn’t feel super ‘now,’ ” says Knight, “but takes you on a journey of Black dance. Throughout the show you see how these people live, how they move, how they celebrate, how they mourn, how they support each other, how they find a family.”           

Knight began building the show’s choreography in October 2022. He workshopped movement in Los Angeles with some of his go-to commercial dancers. “I dreamed as big as I could,” Knight says. “For me, it was about, How do we keep the essence­ and energy of what George Faison did, and also bring JaQuel Knight to the table?”

Broadway veteran and The Wiz dance captain Amber Jackson says the dance call was one of the most intense she’s experienced, with long, fast combos that constantly switched between styles, and rooms jam-packed with a who’s who of Black dance talent. A dance workshop with the chosen few—many of whom were Broadway newbies like Knight—followed, then rehearsals, then the national tour, then another round of rehearsals and tweaks before Broadway previews.

Reviews of the tour seem to agree that the production is highly entertaining, if a bit flashy. But as far as the choreography is concerned, nothing is flashy for flashiness’ sake. “I think the movement does a really beautiful job of not letting the audience feel detached from it,” says ensemble member Maya Bowles. “It’s not so codified in technique that it’s like, ‘That’s so impressive.’ It feels familiar. It feels like home. It feels like something that’s inherently in us as a Black community. It’s something you can be a part of. The invitation is open.”

From Beyoncé to Broadway

Theater was already on Knight’s bucket list when he got the offer to choreograph The Wiz, a call that, he says, made him “lose his mind.” Moving from commercial dance to Broadway presented a new opportunity: Knight, who is so often tasked with executing the vision of another artist—whether Beyoncé, Megan Thee Stallion, or Britney Spears—had a chance to discover his own vision. “I feel like I’m given room to explore my creativity and shape my voice as a movement artist,” he says. “And I’m enjoying that.”

Being new to theater, and therefore not beholden to ideas of how things are “supposed to be” done, has given Knight freedom to push the boundaries of what dance on Broadway can look like, says Phillip Johnson Richardson, who plays the Tinman. “He has the audacity to reinvent the whole thing,” Richardson says, “and not think of it like, ‘We can’t touch that, that’s classic material.’ ”

A New Kind of Tinman

In most productions of The Wiz, during the song “Slide Some Oil to Me,” the Tinman shows off his newly lubricated joints with a tap dance. But in Knight’s interpretation, the dance break becomes a showstopping hip-hop moment that Richardson, who plays the Tinman, says revealed the whole character to him.

The movement—lots of popping, locking, and waving—felt familiar to Richardson, reminding him of dances he watched growing up. “It was like, ‘Oh, I know who this guy is,’ ” says Richardson. “ ‘And I know how I can approach this guy.’ It informed how I wear my hat—I was originally supposed to wear it to the front, and I was like, ‘Nah, he’d wear it to the back or the side.’ He’s a lot closer to me than I originally thought.”

The post <i>The Wiz</i> Returns to Broadway Nearly 50 Years After Its Premiere With More Dance Than Ever appeared first on Dance Magazine.

The Storm of the Century

“We see all of our work as creating worlds,” say Taylor Knight and Anna Thompson, co-directors of slowdanger. The multidisciplinary entity is known for drawing audiences into atmospheric experiences through surreal landscapes enriched with evocative vocals, ambient sound scores, and moody lighting effects.­ SUPERCELL, their largest-scale production to date, unfolds amid deconstructed environs where five individuals face the fury of a burgeoning thunderstorm that forebodes massive devastation and annihilation. Each has a story, told through postmodern dance, improvisation, dialogue, and live camera feeds.

The storm serves as a “representation of society’s hypnotic connection to media sensationalism, desensitization, and climate disasters,” state the co-directors, who consulted with an advisory team of scientists and educators in developing the work that “responds to but does not solve the issue of climate change.” College Park, MD, Sept. 21–22; Pittsburgh, Dec. 8–9. slowdangerslowdanger.com. —Karen Dacko

Birmingham’s Heavy Metal Ballet

Concert dance and pop culture have been close bedfellows in the U.K. recently: Over the past 12 months, we’ve seen everything from a Rambert reimagining of “Peaky Blinders” to former Spice Girl Mel C taking to the Sadler’s Wells stage in a Merce Cunningham–style­ unitard. Now, Birmingham Royal Ballet is getting in on the action with Black Sabbath: The Ballet. With choreography by Raúl Reinoso and Cassi Abranches, led by Pontus Lidberg, the three-act work will be set to orchestrations of the titular band’s legendary tracks, as well as new compositions performed live by the Royal Ballet Sinfonia.

The second in a trilogy of Birmingham-focused works programmed by artistic director Carlos Acosta to pay homage to the city’s cultural heritage—Birmingham is Black Sabbath’s hometown, and they performed their first gig in a pub a stone’s throw from BRB’s headquarters—it claims to be the world’s first true heavy metal ballet experience. While maybe not an experience we knew we needed, there’s appetite for it: The premiere run sold out shortly after it was announced, with extra shows being added in response to the demand. Premieres at the Birmingham Hippodrome Sept. 23–30 before touring to Theatre Royal Plymouth (Oct. 12–14) and London’s Sadler’s Wells (Oct. 18–21). brb.org.uk. —Emily May

Ease on Down to Broadway

If you’ve seen Beyoncé’s “Single Ladies” video, you’ve seen choreographer JaQuel Knight’s ebullient, sexy, defiantly strutting hip-hop style. It’s not exactly what comes to mind when you picture “Ease on Down the Road,” but that will be changing when Knight makes his Broadway debut choreographing a new production of The Wiz, the groundbreaking 1975 musical that gave Dorothy and her misfit pals from The Wizard of Oz a soul transfusion and a message of Black affirmation. Joining Knight and director Schele Williams are Black artists from the music industry, film, and television, all taking a fresh look at Charlie Smalls’ Tony-winning score and William F. Brown’s book. The original, which ran for four years, took seven Tony Awards in all, including Best Musical and Best Choreography (for George Faison). The team for this version arrives toting a slew of Oscars, Emmys, and Grammys, so look out. Tour begins Sept. 23–30 at the Hippodrome Theatre in Baltimore, and continues to additional cities before opening on Broadway next spring. wizmusical.com. —Sylviane Gold 

Mthuthuzeli On the Move

South African choreographer Mthuthuzeli November was already in demand when he was included in Dance Magazine’s 2022 “25 to Watch.” Now, fresh from his latest creation for Ballet Black—the narrative, Nina Simone–inspired Nina: By Whatever Means, which continues to tour the U.K. through Nov. 2—his choreographic commissions are off the charts in both Europe and the U.S. Over the next year he’s set to make works for Charlotte Ballet (Oct. 5–28), Ballett Zürich (January), and Staatsballett Karlsruhe (premiering April 27). Even further ahead, in fall 2024 he’ll create a contemporary retelling of Romeo and Juliet for the U.K.’s Northern Ballet, and Ballet Black will be reviving his lockdown-inspired The Waiting Game next year.

But first, November will take to the stage in his own choreography in a live version of his film My Mother’s Son, a dynamic, fluid, and emotive duet with his brother and National Ballet of Canada principal Siphesihle November. The performance at Toronto’s Fall for Dance North (Oct. 6–7) will mark the first time the pair have shared the stage as professionals. mthuthuzelinovember.co.uk. —Emily May

Spies of the Civil War

For her first venture into opera, artist-activist Jawole Willa Jo Zollar directs and choreographs Intelligence, an epic Civil War story co-created with composer Jake Heggie and librettist Gene Scheer. The opera revolves around the remarkable true story of two women in Richmond, VA, involved in pro-Union espionage: Elizabeth Van Lew, a member of a prominent Confederate family, established a spy ring, while Mary Jane Bowser, born into slavery in the Van Lew household, collected vital information on the war effort while pretending to be gathering laundry. Eight dancers from the Zollar-founded Urban Bush Women will weave movement into the opera’s tapestry of music and storytelling. Commissioned by Houston Grand Opera, Intelligence premieres Oct. 20–Nov. 3 at the Wortham Theater Center. houstongrandopera.org. —Caitlin Sims

Camille A. Brown and Alicia Keys Join Forces

Apartment ads now call it Clinton, but back in the ’90s, the then-sketchy, west-of-Times-Square neighborhood where Alicia Keys grew up was still known as Hell’s Kitchen. And that’s the setting, and the title, of her new off-Broadway musical, to be choreographed by another New Yorker, Queens native Camille A. Brown. The 17-year-old heroine (played by Maleah Joi Moon, and whose mother is played by Shoshana Bean) shares Keys’ nickname, Ali, and some elements of her history, in a book written by playwright Kristoffer Diaz. Brown will be setting songs from Keys’ 15-Grammy career as well as new ones composed specifically for the show. Keys and Brown are both exceptional women who carved spaces for themselves as artists rather than commodities, and Hell’s Kitchen is bound to share their grit and their grace. Oct. 24–Dec. 10 at New York City’s Public Theater. publictheater.org. —Sylviane Gold 

Theme and Three Variations

Postmodern choreographer Annie-B Parson has long been skeptical of the way unison is often used to glorify a phrase in modern dance and give it an easy intentionality. But after reading W.H. McNeill’s Keeping Together in Time, in which the author writes of his ecstatic experience in military marching drills, she traded that skepticism of the choreographic trope of unison for full-blown obsession. For March, a forthcoming piece for her Big Dance Theater, she invited fellow choreographers Tendayi Kuumba and Donna Uchizono to join her in creating a three-part, intergenerational, intersectional evening-length dance based on forms of unison “from the monstrous to the utopian,” she describes, for a cast of 17 female-identified dancers.

March will premiere Dec. 10–16, in the round on the square stage at New York City’s newly opened Perelman Performing Arts Center, and is a co-commission with PAC NYC, American Dance Festival, Spoleto Festival USA, and The National Center for Choreography at The University of Akron. pacnyc.org. —Meredith Fages

All Aboard the “A” Train

Sugar Hill: The Ellington/Strayhorn Nutcracker rolls into theaters this season. The two-hour dance story discards The Nutcracker’s 1892 libretto as it sends Lena Stall on a journey of self-discovery in glamorous 1930s Harlem. Fueled by Duke Ellington and Billy Strayhorn’s The Nutcracker Suite, a spunky take on Tchaikovsky’s score, it’s augmented with other songs from their 28-year collaboration. While not the first Nutcracker spun from the 1960 album, this one boasts a dazzling team of multi-genre choreographers: Joshua Bergasse directs and co-choreographs with Jade Hale-Christofi, Caleb Teicher and Jon Boogz contribute additional choreography, and theater legends Graciela Daniele and Carmen de Lavallade serve as consultants. As of press time, dates have been confirmed at New York City Center (Nov. 14–26) and Chicago’s Auditorium Theatre (Dec. 19–30) with other cities expected to follow. sugarhillnutcracker.com. —Karen Dacko

The Metaverse of Mere Mortals

San Francisco Ballet’s 2024 season is its second under Tamara Rojo’s artistic leadership, but it’s the first to bear her creative stamp. She’s making a milestone statement on opening night with the premiere of Aszure Barton’s Mere Mortals—the first woman-choreographed full-length in the company’s 90-year history. Inspired by the myth of Pandora’s box, the ballet grapples with philosophical issues around artificial intelligence and the evils it could unleash. “What questions should humanity be asking itself about AI?” Rojo wonders. “What risks should we take in order to gain knowledge?” An original score by British electronic composer Sam Shepherd, aka Floating Points, and avant-garde production design and visuals by the Barcelona-based Hamill Industries will create an immersive experience for artists and audience alike. “The goal,” Barton says, “is to create a moving, visceral experience by recontextualizing the classic parable for our modern world.” Jan. 26–Feb. 1. sfballet.org. —Claudia Bauer

Unpacking a Controversial Icon

Gabrielle “Coco” Chanel: alluring fashion icon and notorious antisemite. What is it about Chanel that continues to capture public fascination, and what can we learn from her complex and controversial life? In Coco Chanel: The Life of a Fashion Icon, Annabelle Lopez Ochoa explores Chanel’s mythic status without glorifying the woman in total—a nuanced and analytical approach that ballet often shies away from.

A co-production between Hong Kong Ballet, Atlanta Ballet, and Queensland Ballet, the full-length premiered in Hong Kong in March. Atlanta Ballet will bring Chanel stateside this season before its Queensland premiere next fall. In conjunction with the production, Atlanta Ballet has partnered with the local William Breman Jewish Heritage Museum and SCAD FASH Museum of Fashion + Film to develop educational programming unpacking Chanel’s fashion legacy, as well as the damaging impact of her antisemitism and collaboration with the Nazi Party; Atlanta Ballet will provide additional instructional resources and host discussions on combating antisemitism. Feb. 9–11, 16–17. atlantaballet.com. —Kyra Laubacher

Birds of a Feather

In the allegorical 12th-century poem “The Conference of the Birds,” birds from all over the world come together and find unity despite their differences on a journey toward spiritual enlightenment. It’s only fitting, then, that a confluence of dance styles converge for Zorongo Flamenco Dance Theatre’s adaptation of the ancient Sufi text. Choreographer and dancer Darrius Strong, whose work is heavily influenced by hip hop, brings his penchant for narrative to this collaboration with artistic director Susana di Palma. Though he didn’t have prior training in flamenco, Strong says he found the form’s rhythmic nature and musicality relatable. International flamenco guitarist and composer Juanito Pascual leads the live music for the adaptation, premiering Feb. 10–11 at the Cowles Center in Minneapolis. thecowlescenter.org. —Sheila Regan

Making Work on Work

Laura Gutierrez grew up amidst paint cans and brushes, enormous tarps, ladders, and ratchet straps—the materials her father used as a billboard painter. “The way I know dance, my dad knows billboards,” she says. Gutierrez honors her father’s 48 years of labor with the premiere of her new solo, In Tarps I Trust. The Houston native, now based in New Jersey, plans to lean into the unruliness and extreme physicality of her father’s profession. “I really need to shed a lot of angst and take hold, and what better way to do so than wrestling with a 14×48-foot tarp,” says Gutierrez­, who has made a career creating and performing site-specific work in museum and gallery settings. Gutierrez last addressed issues surrounding labor in Center Aisle Blues, set in a Fiesta Mart, a Texas grocery-store chain serving the Latino community. She continues this thread with In Tarps I Trust, premiering in Houston this spring at the MATCH as part of DiverseWorks’ series on labor, Work of Art/Art is Work. lauraegutierrez.com. —Nancy Wozny

Return of the Roaring ’20s

The Great Gatsby has inspired manyfold adaptations since its 1925 publication, but the disillusionment—with love, marriage, the American Dream—that courses through F. Scott Fitzgerald’s novel has often proved trickier to capture than the stylish decadence of its Roaring ‘20s setting. An upcoming new musical, however, shows promise. Gatsby boasts director Rachel Chavkin, whose knack for balancing spectacle with emotional impact was showcased in Natasha, Pierre, & the Great Comet of 1812 and Hadestown; a score by Florence Welch and frequent Florence + The Machine collaborator Thomas Bartlett; a book from Pulitzer Prize–winning playwright Martyna Majok; and choreography by Sonya Tayeh—who better to capture the wild opulence of Jay Gatsby’s parties than the dancemaker whose over-the-top dance sequences for Moulin Rouge! nabbed her a Tony Award? The premiere of Gatsby will close the season at American Repertory Theater, a noted incubator for Broadway-bound new works, with previews beginning May 25 and opening night slated for June 5. americanrepertorytheater.org. —Courtney Escoyne

Breaking Onto the International Stage

Breaking will make history as the first dance form to reach the Olympic stage next summer. Staying true to its hip-hop roots, the breaking program will revolve­ around the battle. In two events, one for 16 b-boys and one for 16 b-girl­s, ­competitors will face off in a single-elimination–style tournament. As they go head to head to perform improvised sets of their most impressive top rocks (standing movements), down rocks (floor work), and freezes (inverted poses), they will be judged on their athleticism and artistry.

Breaking for Gold USA has developed a competition circuit to determine the country’s best breakers. To become Olympians, these breakers will need to earn spots at Olympic qualifying events, where they will compete for the opportunity to represent breaking’s birthplace on the largest international stage at the ­2024 Summer Games in Paris. Aug. 9–10. paris2024.org. —Kristi Yeung

Mean Girls, Take Three

Get in, losers, we’re going back to high school, again. Mean Girls, the 2004 movie that inspired the Tony-nominated 2018 Broadway musical, will soon see its third incarnation as a movie musical. While musical comedy veteran Casey Nicholaw originated the musical’s moves, à la lunch-tray choreography and spontaneous tap dance breaks, this film adaptation will have a fresh take courtesy of choreographer Kyle Hanagami. With a signature style that’s intricate, musically expressive, and invitingly fun, Hanagami has emerged as a go-to collaborator in both the K-pop and commercial-dance scenes. His viral touch may be exactly what this adaptation needs to bring the musical’s whip-smart lyrics—by Nell Benjamin, who, along with original screenplay and Broadway book writer Tina Fey, has hinted at some surprises and potentially a new song or two—to life on screen. The new film will stream on Paramount+, date to be announced. paramountplus.com. —Amanda Sherwin

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