Using found text, music, stylized physicality, and an abundance of pop culture references They Do
Not Move winds its way through an imagined American future in which democracy has been
defeated and a disorganized band of vagrants, waifs, and strays are hunted by monarchist forces.
Their only defense? An expressionist cavalcade of song and dance. There will be a beauty pageant.
There will be a sitcom. There will be conversion therapy. Horror movies, cancel culture, and Texas
law feature prominently in this oddly moving, frenetically funny love letter to our city, a devised
dance-theatre piece that could only come from the mind of Brian Jucha. Like each of his works, They
Do Not Move is sublimely derivative and apropos of everything.
Jucha previously collaborated with IBP and Catastrophic to create Last Rites (1997), We Have Some
Planes (2002), and Toast (2019). In its cover story, American Theatre magazine called We Have
Some Planes “darkly hilarious and compelling… like the best of remembered dreams” and said,
“Jucha and the extraordinary Infernal Bridegroom company have given us a way to open our eyes.”
created original interdisciplinary theater works for over 25 years. He was delighted and inspired to return in 2019 to create a new work with Catastrophic called TOAST.
Jucha’s greatest personal triumph came in collaboration with the company of actors of INFERNAL BRIDEGROOM PRODUCTIONS with WE HAVE SOME PLANES. Less then 6 months after September 11 – the New York artist used the verbatim transcripts from the morning of 9/11 between the cockpits and pilots of the four planes that crashed that day and the air traffic controllers along the east coast corridor as the basis of a new work. Performed underneath a looming bright red digital clock that ticked away the 75 minutes leading up to the disaster – with the text delivered in real time – Jucha and IBP broke all expectations for audiences and critics and delivered a groundbreaking theatrical experience that did not address the tragedies of that day as much as it created an emotional rollercoaster ride that examined the world in which we lived in – a world that would never quite be the same. WE HAVE SOME PLANES received critical rave reviews, standing ovations and landed both Jucha and Infernal Bridegroom on the cover of American Theatre magazine.
Jucha gained a reputation as an established ‘traditional’ director helming the reins of plays and musicals such as Stephen Belber’s TAPE, Mary Zimmerman’s Metamorphoses and BAT BOY The Musical. He was more widely known for collaborating closely with ensembles of actors to create original pieces. His own now defunct New York-based Via Theater were constant producers in the downtown NYC performance landscape in the 90’s presenting 2 to 3 original works a year to consistent rave reviews from The New York Times. He is a theater artist who is not a playwright. He relies as heavily on stylized movement as he does on spoken text. His singular performance style is always visually arresting, engaging, and entertaining.
The performances – conceived by Jucha – working closer with actors – have ranged from performance/dance to adaptations of plays to original rock operas, to theater of the absurd collages using current events, texts from found sources (court trials, newspaper articles, self-help books); kaleidoscopes of music, sound and soaring singing; and always a technically proficient array of imagery and movement.
All of Jucha’s productions have developed out of a life’s work studying VIEWPOINTS. Many artists have utilized the benefits of Viewpoints training over the last 2 decades, Jucha is one of the few who was part of the original conception, having worked with both its creators dancer/choreographer Mary Overlie and Anne Bogart who adapted its use towards theater.