“From Hawai‘i to Broadway Dreams: This Is Not a Drill”

On the morning of January 13, 2018, thousands of people across Hawai‘i received a sudden and terrifying message on their phones: “BALLISTIC MISSILE THREAT INBOUND TO HAWAI‘I. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.”

The alert triggered instant panic: people rushed to makeshift shelters, families scrambled to find one another, beachgoers were caught in a fog of fear and uncertainty. A collective lockdown of uncertain duration unfolded with a surreal intensity. Thirty-eight minutes later, a second message lifted the dread: it had all been a false alarm — the result of human error during an internal systems drill by the state’s emergency management agency.

This Is Not A Drill, a new musical conceived by Holly Doubet and co-written with Kathy Babylon and John Vester, recreates that surreal yet deeply human morning. It is not simply a dramatization of real events; it is an emotional excavation of how anonymous individuals, suddenly confronted with the possibility of death, connect, console, freeze, or act. It offers a warm but unsparing gaze into what truly matters when time momentarily stops.

Set to premiere at the Theatre at St. Jean’s in New York City, from September 9 through October 11, 2025, This Is Not A Drill seeks to capture the tension of a fractured moment — and resolve it through empathy, shared vulnerability, and musical tenderness.

So, welcome Kathy Babylon, welcome Holly Doubet.

I truly can’t imagine what I would have done in those long, drawn-out minutes...

People often say, “If that happened to me, I’d do this or that” — but when it’s real, when it comes out of nowhere, I believe we react not with a plan, but with instinct. You Holly lived that moment. And now you’ve turned it into music.

Let’s begin at the very heart of it all:

Holly, could you tell us how This Is Not A Drill came into being?

Hi Miguel! Yes - I spend time in Hawaii. I was there in January of 2018 when our phones started beeping an alert. It was quite loud and scary. On the phone there was an official warning from the state of Hawaii that said “TAKE IMMEDIATE SHELTER. BALLISTIC MISSILE THREAT INBOUND TO HAWAII. THIS IS NOT A DRILL.” So, for 38 minutes - until they figured out how to withdraw the official alert - everyone on the Hawaiian islands thought they were going to die, including me.

I see Holly, you were actually in Hawai‘i when the false missile alert happened. What was that experience like for you?

The experience was life altering. As I was standing in a small room with about 40 strangers, wondering if I would feel the blast or just disintegrate, I realized that I was very happy with my life. My two sons were grown and doing well. I had no regrets, there was nothing I hadn’t done that I wanted to do, and I was favored with many beautiful and fulfilling relationships. After I recovered from Post Traumatic Stress Disorder (I literally had it!) after two weeks in bed, I got up and decided I was going to do what I had been thinking about doing for a while: WRITE A MUSICAL! And this experience would be the perfect story.

And why choose the musical format to tell this story? What does music bring to it that other forms might not?

Honestly, writing musicals is what I should have always been doing. I started playing piano at age 4, studied at the Royal Academy of Music in London, then got a full scholarship to double major in piano and opera in college back in the states. My extensive classical training allows me to explore music in a fuller way, I think. I like to use inspiration from all over the musical world: from world music, or the lyricism of the great Puccini operas, or the sheer power of Beethoven, to the creativity and force of Stravinsky.

Great, Holly. Kathy: Can you share how the musical score and songs were developed to capture the tension and emotional landscape of the story?

Holly would call me and say this is what is happening in the story here. I need a song to express the motion of what this character is feeling. Holly usually knew what she wanted the song to convey so it as a wonderful way to write together.

The musical premiered in Dallas under the title 38 Minutes, but now it’s called This Is Not A Drill. What led to this change, and what does the new title convey about the show’s identity?

THIS IS NOT A DRILL is a stronger title and says so much more. It was written in the alert that went out to everyone in Hawaii, and as we all know, life is very uncertain and there is no time to waste. Sometimes there are no do overs. Do it now, enjoy life, love everyday. THIS IS NOT A DRILL!

Thank you, Kathy.

Moving on to the creative process and your collaboration as a team, how would you describe the working dynamic between the three of you—Holly, Kathy, and John—during the development of the script and music? How did you divide responsibilities?

I had a pretty solid idea on what all 16 songs were going to be. Kathy and I have been friends for nearly 50 years! So working together is not difficult. We are very open with each other. As we write, we honestly comment on ideas (I don’t like that, I LOVE that, or whatever!). And we are not done until we both like the results. There are times we have spent weeks on a single song. We wrote 10 of the 16 songs together, and I am still not tired of them! That is a good sign. John Vester and I wrote 4 songs together. I would give him a title or idea, he would send me a really good basis to start from, and we’d go from there.

Thank you, Holly.

Kathy: how did feedback from early performances, such as the Dallas premiere, influence rewrites or revisions to the text and music? Were there significant changes based on the live experience?

Well we had the wonderful Paul Bogaev come to Dallas to help us with the first reading and he brought in Gabriel Barre to direct. We could not have been in better hands. After the reading they both were convinced of the strengths of the show and wanted to move forward with us on our journey. Paul even said, ”This is a orchestrators dream.” We are over the moon to be under their guidance moving forward. I believe there will be changes going on up to the last minute. We are always working on the show and tightening and improving what is already there.

What was the casting and artistic direction process like for the New York production? What qualities were you seeking in the actors and creative team?

The casting in New York is mind blowing. The talent is just so so good. So during this casting Felicia Finley auditioned for the lead role of Jessica. I was in California watching. She was phenomenal. She seemed familiar to me but I wasn’t sure why. When i asked our casting gent she said, ”Well you know she was in Aida.” That just sent chill bumps. She worked with Guy Babylon (my late husband) and Paul Bogaev before on Aida. It just all seemed so meant to be. Felicia is now in our show!

Good choice, Kathy! What do you hope audiences take away regarding human resilience and communication in times of crisis? 

There is something in this show for everyone. We have all been through so much in our lives and these stories are all relatable. Watching how people rise up during a crisis and find the best part of themselves moving forward is inspiring. I hope audiences will feel the inspiration and leave uplifted.  

Revisiting that intense morning and those emotions through artistic creation must have been powerful. How has this process affected you personally? 

This has been the most fulfilling project I have ever worked on. It’s such a collaborative journey and hearing the music as part of the story is thrilling. There is nothing like Broadway!

For sure, Kathy! Finally, looking ahead at the future of the show and your journey: what hopes or plans do you have for the future of This Is Not A Drill? Are there tours, adaptations, or other projects on the horizon? 

We are hoping for a Broadway run of course. But we are also looking at taking it to Hawaii for a run since it is their story. Our Producer Jim Kierstead is talking about taking the show to the West End in London too. We are open to it all. We want this show to be a long running hit!

Hope so, Kathy! Bet for this! And as a closing thought, is there anything unexpected or memorable from the creative journey that you’d like to share with our readers? 

I am just blown away by the support all around us. This has been a beautiful journey to take with all involved. I love writing with Holly, and to do this with her, my longtime friend, at this point in life is just sensational. The topping on the cake for me is working in the studio with my son, Ben Babylon. His talent and support has amazed me. He has come to our rescue a few times when we have needed quick changes on the spot too. So nice to have him to lean on.

Thank you so much, Kathy and Holly, for sharing these insights with us.This Is Not A Drill will be performed at the Theatre at St. Jean’s in New York from September 9 to October 11, 2025. Don’t miss the chance to experience this powerful and timely musical live. Tickets are available now through the theatre’s official website and authorized ticket outlets. Make sure to secure your seats early for what promises to be a moving and unforgettable theatrical event. 

For Tickets Click Here

Pictures courtesy of Kathy Babylon