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6 - Tuesday, October 11, 2011 The Michigan Daily - michigandailycom

Bringing it to Broadway

MT&D student
Taylor Louderman
takes to the stage
By DHRUV MADEKA
For the Daily
Even if she's humming a tune
under her breath on a crowded
New York subway, Taylor Loud-
erman is easily distinguishable
from the masses. Graced with a
Broadway-bound voice, Loud-
erman isn't an everyday social
encounter.
Louderman, a musical theatre
major in the School of Music,
Theatre & Dance, is currently
residing in New York City, spend-
ing a year away from the Uni-
versity to perform in a national
tour of "Bring It On: The Musi-
cal." Based on the hit-movie
series of the same name, "Bring
It On" plans to tour the country,
going through 12 cities until June
before attempting to make a run
on Broadway.
After playing her first role as
Annie in "Annie: The Musical,"-at
age 10, Louderman took a deeper
interest in the arts as she grew
older. She took part as a teen in
the Muny, St. Louis's well-known
outdoor theater, and finally audi-
tioned for six schools during her
senior year of high school before
deciding to attend Michigan.
The musical theatre program
at the University is considered
one of the most prestigious of its
kind. Notoriously difficult to get
into - Louderman believes in
her year there were 800 people
who auditioned and 20 who were
admitted - the program usually
houses the creme de la creme of
the country's musical talent.
Louderman spoke about the
University's virtues, citing both
its "big college experience" and
its h -qua,1y faculty.

4

CHRIS DZOMBAK/Daily
Would-be MT&D junior Taylor Lauderman played Princess Amneris in MUSKET's production of "Aida" last November.

"It doesn't get any better," she
said. "They really focus on mak-
ing ita family-oriented program."
Louderman's vocal talents
have allowed her to take on a
range of roles. Most notably, she
played the Princess Amneris last
November in MUSKET's "Aida."
But even outside of the Universi-
ty, she has undertaken a number
of roles in the Muny, including
"Beauty and the Beast" and
"Footloose." In fact, she spent the
early summer playing Margot in
the Muny's adaptation of "Legal-
ly Blonde, The Musical," before
she dropped out of the next play
to begin her journey with "Bring
it On."
Despite her success, Louder-
man remains overwhelmed by
the position she is in and the
people she is now surrounded by.
And rightfully so, since the musi-
cal, loosely based on the third and

fourth movies of the "Bring it On"
series, features a Tony and Gram-
my Award-winning staff.
"There are days when I'm
like - oh my gosh, I am going
into this room with these Tony
Award-winning people and I'm
aboutto do this tour," Louderman
said. "Had this never happened, I
would be back at school with my
classmates.
"And I constantly go back and
forth, but honestly, you just put
your mind to what you need to do
and all that goes away."
Despite the ubiquitous nature
of the "Bring it On" franchise,
Louderman believes the musical
has more to offer than any of the
movies. She puts herself through
taxing rehearsals to prepare for
a role she believes requires the
physical endurance of an ath-
lete. The musical, which is based
in the cheerleading world, will

feature stunts that Louderman
promises will leave the audience
amazed.
"I don't think I've ever seen a
musical with this much wowing
going on," she said. "It's some-
thing I never imagined I would
have to do."
Louderman understands
why people might find musicals
cheesy: When they aren't done
well, they don't seem to contrib-
ute thuch to one's cerebral needs.
But she also acknowledges that a
well-done musical has the power
to leave an indelible mark on its
audience.
"Every time I leave a show, I
feel different - I feel changed,"
Louderman said. "I think music.
is kind of a universal language. It
can move you without you really
even knowing, or without you
realizing that's what it's trying
to do."


Bjork is feeling very cosmic today
When new-age
and nature meet
By KATIE STEEN tal activist, relayed to Ste-
For the Daily reogum that she had intended
for the title of her project to
When most musicians wish mean "nature-like" or "mor-
to return to nature, they follow phing into nature.e How con-
a fairly, standard procedure. tradictory, then, that an album
This typical- that places so much emphasis
ly involves on nature is meant to be expe-
isolation rienced while staring at (or
in a forest, - playing with) a screen.
newfound iopilIa To experience r Biophilia
respect for Bjdrk without utilizing every aspect
acoustic of the project would be unfair,
instruments Onelittle Indian but that's not to say the actual
and perhaps music of the album is second-
some yoga or gardening. In ary to the apps on an i-what-
Bjfrk's latest tribute to nature, ever. Looking beyond the
however,bier mostvital instru- technological innovations,
ment is an iPad. does Biophilia actually sound
Never one to follow the "good?" The answer to that
traditional course of action question varies largely based
in any aspect of her life, the on the degree of listener open-
Icelandic artist has put out mindedness. While most of
an album, Biophilia, which is the melodies of Biophilia are
likely to be considered a pio- starkly uncomplicated, they
neer ir: history of music. are more tha ncgmpensated
BIork aplairectin an iter- with the layers of added ele-
vew with The Guardian that ments that crystallize and
she has created the first "app grow.


TWITTER THROWDOWN
FOLLOW @MICHIGANDAILY
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album" ever. Apple devotees
can interact with each song
in an app with the.same name
involving musical visualiza-
tion, lyrics, essays, scores and
games in which users can con-
tribute to songs.
Bjflrk, also an environmen-

l

Bjork gets in
touch with

0"


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technology in
'app album.'
The album's opener is a
paradigm of the. deceptive
minimalism of the album's
melodies. Aptly named "Cos-
mogony," the song begins
with Bjork speculating about
the origin of the universe.
Her proposed explanations
are admittedly lame -' an
empty sea, a cold black egg, a
silver fox. She even mentions
the Big Bang - say, that's
not innovative at all! Bjork
attempts to comment on par-
ticularly mind-blowing topics
like the genesis of life, but the
simplicity of her lyrics verge
on triteness. Thankfully, the
raw aesthetics of the song
make up 'or any lack of awe-
inspiring cogitation. An ethe-
real chorus opens the song,
later accompanying musings
about Heaven: The song ends
in an echoing deterioration
that is absolutely otherworld-
ly, even by Bjork's standards.
"Crystalline" hops along
with a series of pings created
from a computer-generated
hybrid instrument called a
"gameleste," eventually con-
cluding with a frenzied bar-
rage of glitches with a beat
that bears a strange resem-
blance to Aphex Twin. The
final track, "Virus," begins
with an invitingly mysteri-
ous xylophone-like tune that
prefaces a poetic catalogue
of metaphors on parasites.
Intermingled throughout
these comparisons, Bjork
oohs softly, creating a sway-
worthy melody. Both of these
are singles from the album,
unsurprising given they have
distinct melodies more likely
to appeal to the public. An
iPad app and extensive back-
ground knowledge aren't nec-
essary to enjoy (and maybe
even dance to) "Crystalline."
See BJORK, Page 7

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