Inside the Anyone But Cis Male-led Comedy Troupe: Bloomers Band

Founded in 1979 by the legendary Joan Harrison as an alternative to the male-led theatre group, Mask and Wig group created in the late 1800s at the University of Pennsylvania, Bloomers Comedy has captured the university and been a significant source of art and entertainment in student life for the past 46 years. According to the band’s director, Veronica Baladi, “(about) 200 to 300 girls turned up for the cast and the other sections, and they grew from there.” Out of this troupe is Bloomers Band—the soul, class, and jazz sound of the comedy troupe delivered through a range of instruments, including but not limited to keyboard, violin, trombone, bass, oboe, guitar, and much more. With their academic sophistication, their fill-ins mimic SNL-style comedy shows as they support their own independent pursuits as a band across cities like Philadelphia and New York, hitting student hot spots such as Smokey Joe’s, Elmo’s Backyard, Iron Gate Theater, and even taking over frat parties. 

Focused on creating an inclusive space for all, the structure offers a flexible system for the band’s operation, delivering five shows over one major weekend every semester at large venues around UPenn’s campus, such as the Annenberg Theater.

Einstein said, “After a certain high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity, and form.” Most of their members belong to some of the university’s most demanding departments, including Computer Science, Economics, Physics, Psychology, and other aspects of STEM. Being this highly intellectual group, one can see how music is an essential part of their life. The band’s members are Veronica Baladi (director, guitarist, and vocalist), Isa Turri (violinist), Sandy Mahesh (keyboardist), Eulina Ji (Oboe), Maxine Wanderer (Bass), DJ Bevan (tenor saxophone), Aidan Parris (trombone), Drew Neiman (drummer), and Oscar Kong (violin).  

Yet, even with the external pressures of academics and musical excellence, they admit that the “hardest thing to accept is the ability to make mistakes and be comfortable with it.” They instead focus on enjoying themselves over perfection, strengthening their bond, and making them a remarkable stage presence.

With that, FRONTRUNNER Magazine is proud to present our conversation with Bloomers Band and its leader, Veronica Baladi.

How does the band work through the challenges and benefits of being part of a comedy troupe? Do you find difficulty in your independence and identity as a musical wing?

Veronica: The comedy troupe is a large group of about 50 or so undergraduates at Penn. The other six sections of the troupe include the cast (who handle acting), costumes, tech, business (handling marketing and outreach), and writers, making the dynamic similar to an SNL show every semester, featuring music bits, comedy shorts, and instrumentals.

The cast itself is really easy to work with. Oftentimes, the songs we do as a band are a separate endeavor. For example, last fall, we had a bit about a guy who stole items from Wawa, and it was performed to the tune of Bohemian Rhapsody, which was kind of crazy, having to learn the entire song from beginning to end. 

But the benefits outweigh the struggles. I think you see a much more cohesive show than if you were just seeing music or comedy, and there’s a place for everyone (who wants to join). It just takes someone to contend with the fact that “Okay, there’s Bloomers Comedy and there’s Bloomers Band” when you first come to Penn.

How would you define your style? Do you write your own original songs, or do you mostly perform covers?

Veronica: I think our style has changed over the years, depending on what we listen to. Our style (I would say) is sultry and smooth. We are a little jazzy, a little bit of disco, and definitely soul—I think soul is a good word. For example, we did “Is It a Crime” by Sade and “Believe” by Cher, which were both really fun ones. Because we have such a full instrumental lineup, from tenor saxophone to oboes and violins, we try to find a niche that fits. 

We’ve done a couple of original songs in the past. We do try to make the arrangements we perform kind of original, not too similar to other songs. I’m trying to work on having us do one original instrumental each show, starting next semester, just to keep it funky. We also feature a lot of solos between songs, so the originality comes out there, even in pop songs you wouldn’t expect to have an extended instrumental break.

Since most of your members are undergraduate students, STEM majors specifically, how do you manage your academics and your performance in the band?

Veronica: The most important thing is setting boundaries and structure. Being part of Bloomers Comedy, with the pressure of having a show every semester and all the production value involved, helps. We try to do about six hours of rehearsal a week. We set the times once we have all our new members, but there will always be a time when you have to prioritize your academics, health, and friendships first. Although most of us are in demanding STEM fields, and are brilliantly involved in other things on campus, music provides a necessary space. Music is needed because of the community it provides, as it brings people together and trains the brain. 

Making time for the band is worthwhile, and we understand that when we miss a lot of rehearsals or are too burnt out, it’s okay to cancel.

What’s the screening process for new members each year look like? Is it difficult having those new additions to the band? Does it change your sound? 

Veronica: This year, we have a lot of new members, but for example, the transition from my freshman to sophomore year was simple because no one really graduated, so we instantly clicked and could get the song. 

We have a few events early in the year. The biggest event to recruit is something called the Free Show. This is a collaboration event with Mask and Wig, where both the acting groups and bands rent out a large theater in Zelervok for one free night. We play our favorite songs from the past and announce which instruments we are looking for. We always encourage all instruments to audition because you never know. For example, in my freshman year, there was already a guitarist, so I thought I was screwed, but I ended up auditioning for bass and was eventually accepted. I even led a pre-orientation where I spoke to freshmen about their interests, and if they mentioned an instrument, like a violin, I would tell them they could check out the Free Show to see if they liked it, and it worked out.

You’ve performed in locations across Philadelphia and New York City. What’s performance like for you? Do you find audience reaction to be different depending on location?

Veronica: I guess the common denominator is that the audience tends to be our friends. One really great example was from our last show, which was Halloween weekend. Out of the four nights, we were very lucky and had three that sold out, but the Friday late-night show didn’t. We were still able to have our fun show that evening because all of our friends from the larger Bloomers troupe were front and center, free of judgment and providing lots of unhinged cheering. There was a lot less pressure, and everyone was just able to let loose. For example, when we did “Man I Need” by Olivia Dean, which has a section where everyone solos, our saxophone player just kept going for another eight bars, and then another eight bars, and everyone was just kind of grooving.

When it comes to the audience, though, you kind of get what you give. Also, some songs are easier than others; if we’re doing a very basic crowd-pleaser, it’s easy for us to solo over four chords.

How do you select locations and a set list for concerts and solve some creative disagreements/clashes of ideas that may arise? 

Veronica: We just kind of sit in a circle and talk it out. Depending on the semester, people can be really passionate about the songs they want to do. Ultimately, democracy does kind of rule. Sometimes, I’ve used a Google form where people rank songs, but this year we just sat around, listened to things, and went with what had universal agreement and fit our sound. 

We also try to have a balanced set list—not everything should be too slow or too fast, incorporating wider genres. Most importantly, since there are nine members in our band, I ensure that each person has something memorable—like the oboe player having a solo or a memorable moment in the set list.

What’s the hardest thing you’ve had to accept as artists? And where do you see the band within the next few years?

Veronica: At least for myself, and I think the band would agree with this, it is the ability to make mistakes and be very comfortable with it. There have been so many shows when I forgot lyrics, felt like I sounded off, messed up a run, or even played in the wrong key. The hardest thing is realizing that it’s really not that serious. It doesn’t matter if it sounded bad or good, except putting your best out there and realizing, “I had fun.” Learning to accept mistakes in front of all those people is probably my biggest takeaway.

As for our goals, I would say there are two ways you can approach them: technique and sound. But I think the friendship within the Bloomers Band is key to all of us. So, keeping it inclusive, having our friends show up, and having a good time are important. Having fun and delivering a tangible product are our ultimate goals.