He Loved the Soft Porn of the City

Throughout the entire 45-minute duration of He Loved the Soft Porn of the City, a large fuzzy keeshond sat happily leashed at the feet of keyboardist Kristen Williams. Though the hirsute canine wasn’t the only hairy beast in the production; the entire work is something of a gonzo shaggy dog tale set to music.

Produced by the jazz fusion outfit the Moderno Trio, the piece is an art-rock opera tribute to Morten “Skovgaard” Danielsen, an eccentric Danish composer who briefly collaborated with the band before committing suicide
Inspired by their late colleague’s eccentric lifestyle and manic approach to art, the trio has attempted to convey the spirit of Danielsen through Soft Porn‘s mix of music, video projection, and modern dance.

On stage, the band takes precedent both aesthetically and literally. The stripped-down black box setting of the Warehouse gives the show more a feeling of a concert than anything else. While a blurry, non-narrative video projection and a lone dancer fill out the visual component—adding a degree of spectacle that sets the piece apart from a run-of-the-mill jam session—the production’s success still hinges on the group’s musical ability.

Luckily, the members of the trio know what they’re doing. From the show’s opening number—a meandering monologue detailing a night of Hunter S. Thompson-eqsue debauchery—there isn’t a dull moment musically. Exhibiting a laudable degree of technical proficiency and sonic reach, the group’s performance spans a range of styles. The soundtrack makes nods to everything from slinky jazz piano to cheesy new-wave synth pastiche to sultry pop in the mold of Serge Gainsbourg’s early work. Far from incoherent, the group manages to unite its heterogeneous influences with an underlying atmosphere of hypnagogic mania.

It would be remiss not to give additional recognition to both keyboardist Kristen Williams and percussionist James Wesley Edwards. The former’s sense of melody does a fantastic job giving each number a distinct identity, while the latter’s dexterous playing is so skillful it threatens to steal the show. Giving each movement a driving momentum with his intricate rhythms and fills Edwards deserves much credit for much of the show’s infectious energy. Dressed in a purple velvet sports coat and neon shades, frontman Dr. Allan Von Schenkel feels a bit unprepared to embody the frenzied atavism of Danielsen, but his affable enthusiasm makes up for any charisma gap.

The performance I witnessed was far from polished. There were a few technical snafus (all played through without breaking character) and the band seemed so eager to play they glossed over the introductory exposition. If the players hadn’t stuck around after the show to clarify the actual story behind the Soft Porn‘s creation, I wouldn’t have had any clue what was going on. However, since most of the work’s enjoyment comes from the sights and sounds rather than the narrative, this isn’t exactly a problem.

In all, given the play’s short run time and simple pleasures, He Loved the Soft Porn of the City should make a great way to add an innocuous thrill to any day of Fringe-going.

He Loved the Soft Porn of the City has 5 performances, ending July 27, 2012, at Warehouse 645 New York Ave NW, Washington, DC.

  Peter rates this 4 out of a possible 5.