Decoding the Symbolism: The Hidden Language of Elton John and Bernie Taupin

Few partnerships in popular music have been as enduring and creatively fertile as that of Elton John and Bernie Taupin. Since the late 1960s, Elton’s melodies and Bernie’s words have merged into songs that are both timeless and deeply personal, resonating with audiences across generations. While Elton provides the musical canvas, it is Taupin’s lyrical imagery that often turns these songs into miniature worlds — places where listeners can find echoes of their own lives.

One of the keys to this lyrical power lies in symbolism. Taupin’s writing frequently goes beyond straightforward storytelling; instead, he draws on recurring metaphors and symbolic motifs to create a universe rich with meaning. These recurring elements — journeys, light and darkness, childhood memories, animals and the natural world — not only give his lyrics depth, but also provide multiple layers of interpretation that have kept fans returning to them for decades.

The Journey as a Symbol of Personal Growth:

Among the most enduring symbols in Bernie Taupin’s lyrics is the idea of a journey—a road, a path, or a quest for something beyond the horizon. This motif often embodies personal growth, transformation, or the pursuit of meaning, weaving through Elton John’s catalog with profound emotional resonance.

• Goodbye Yellow Brick Road remains a foundational work: the “yellow brick road” represents a lure of fame and escape, but also disillusionment and nostalgia for simpler times.

• In Rocket Man, the cosmic voyage mirrors ambition and isolation—striving for greatness while drifting emotionally apart.

• Tiny Dancer uses highways and free-spirited imagery to suggest searching for identity and belonging.

• This Train Don’t Stop There Anymore employs the train as a metaphor for irreversible change and the closing of chapters in life.

• I’m Going Home speaks of returning—after a long, lonely journey, finding solace and resolution in “home.”

• The North (a deeper cut) highlights the yearning for direction and self-discovery, making the search itself meaningful.

• Captain Fantastic and the Brown Dirt Cowboy narrates the literal and metaphorical journey of two boys becoming artistry icons, tracking personal and professional growth.

These journeys transcend physical travel. They are emotional, spiritual, and introspective quests. Whether the symbol is a dusty road, a rocket, a train, or a metaphorical compass, these narratives invite listeners to see their own growth, struggles, and transformations mirrored in the music.

Light and Darkness: Hope and Struggles:

The imagery of light and darkness is one of the most evocative tools in Bernie Taupin’s writing. These contrasts rarely serve as decoration; they carry emotional weight, embodying despair, hope, concealment, and revelation. Elton John’s music often heightens these oppositions, giving listeners a visceral sense of shifting between shadow and light.

• Don’t Let the Sun Go Down on Me, the fading sun becomes a metaphor for exhaustion and loss of strength, while the plea for connection transforms darkness into shared vulnerability.

• Original Sin, regret and secrecy appear as lingering shadows; acknowledging them becomes a form of illumination, where honesty itself offers a sliver of light.

• Daniel, a song whose bright surface conceals inner pain and distance, showing how melodies of light can mask emotional darkness.

• On Dark Street, a direct plunge into bleakness, describing a life stripped of brightness and weighed down by struggle.

• The One where love is presented as a radiance strong enough to scatter shadows, turning uncertainty into clarity.

• Bad Side of the Moon or a cosmic metaphor for isolation: living unseen and forgotten on the hidden side, where warmth and recognition never reach.

Through these songs, light and darkness emerge not as fixed states but as forces in motion, shaping the emotional universe of Elton and Bernie’s work.

Childhood and Memories: Nostalgia and Personal Formation:

Bernie Taupin often draws on his own childhood and personal memories to craft his lyrics, weaving an emotional narrative that resonates with listeners through nostalgia and reflection on the past. These songs not only explore personal memory but also the formation of identity and the search for meaning over time.

• First Episode at Hienton evokes a sense of nostalgia and reflection on youth and the early experiences that shape life.

• Blue Avenue revisits themes of childhood memories and the relationships that define emotional and personal development, with a nostalgic and melancholic tone.

• Teacher I Need You deals with youthful fascination and the innocence of adolescence, reflecting the first emotional experiences and the formation of identity in youth.

• We All Fall in Love Sometimes explores the search for connection and identity in adulthood, with lyrics that portray love as a formative and transformative force.

• You Can Make History (Young Again), a song about the ability to reinvent oneself and recapture inner youth, with lyrics that inspire hope and personal renewal.

These songs provide a deep insight into how Bernie Taupin uses his own experiences and memories to create lyrics that resonate with listeners, exploring the formation of identity and the search for meaning in life.

Animals and Natural Elements: Connection with Life and Emotions:

Bernie Taupin and Elton John have explored throughout their career the relationship between humans and nature, using animals and natural elements as metaphors to express feelings, emotions, and deep connections with life.

• Indian Sunset combines elements of the American West with lyrics reflecting on life and death, using the image of a Native American observing his destiny.

• Crocodile Rock, with an energetic rhythm and nostalgic lyrics, this song evokes memories of a past era, using the image of a crocodile to convey the energy and excitement of those moments.

• Grey Seal, although the lyrics may seem cryptic, the song uses the image of a seal to explore themes of freedom and self-expression.

• Skyline Pigeon, a ballad that uses the image of a pigeon flying freely to express the desire for freedom and the search for a better place.

• Can You Feel the Love Tonight written for The Lion King, this song uses elements of nature to convey a message of love and universal connection.

• Poor Cow is a reflective song that depicts the struggles of working-class life, using vivid imagery of daily hardships, relationships, and social pressures. Through Bernie Taupin’s lyrics, it connects personal experience with broader human emotions, portraying vulnerability, resilience, and the reality of everyday challenges.

These songs show how Bernie Taupin and Elton John have used nature and animals as symbols to explore deep human emotions, creating a connection between the natural world and personal experiences.

Love and Relationships: Intimacy and Emotional Bonds:

Bernie Taupin and Elton John have explored throughout their career the complexities of human relationships. Their lyrics delve into love, loss, passion, and vulnerability, creating a strong emotional connection with the listener.

• Mona Lisas and Mad Hatters, a reflection on urban life and its contradictions, using the imagery of “Mona Lisas” (idealized women or the masks people wear) and “Mad Hatters” (eccentric or troubled individuals) to represent different facets of society.

• Bennie and the Jets as an ironic critique of the music industry and fame, personified in a fictional band.

• Sacrifice,a ballad about the challenges of long-term relationships, highlighting emotional distance, compromise, and the bittersweet nature of love.

• High Flying Bird, a song about aspiration and freedom, using the image of a bird flying high to represent personal dreams and desires.

• Strangers, an introspective piece exploring loneliness and the quest for connection in a world full of strangers.

• Sorry Seems to Be the Hardest Word, a deeply emotional song about the pain of difficult relationships, expressing vulnerability, regret, and the struggle to communicate feelings.

These songs exemplify how Elton John and Bernie Taupin have explored the depths of human relationships, crafting lyrics that resonate with listeners through their honesty, emotion, and timeless themes.

Social Commentary and Personal Reflection: Critique of Society and Self:

Elton John and Bernie Taupin have consistently infused their music with social commentary and personal reflection. Their lyrics examine human behavior, societal pressures, and cultural norms, blending storytelling with insight and critique.

• All the Young Girls Love Alice, addresses bullying, misunderstanding, and discrimination, using irony and empathy to highlight the struggles of its subjects.

• Social Disease reflects on excess, social decadence, and the superficiality of certain cultural circles, critiquing the behaviors and values of the time.

• Lies, explores betrayal, deception, and contradictions in both personal and societal relationships, revealing the darker sides of human interaction.

• Made in England offers a satirical look at national identity and British society, combining irony with keen social observation.

• The Open Chord, a mature reflection on life choices and self-evaluation, carrying a philosophical tone that encourages introspection.

These songs demonstrate how Elton John and Bernie Taupin have used their music to comment on society and human nature, creating lyrics that not only entertain but also provoke thought and self-reflection.

The recurring symbolism in Elton John and Bernie Taupin’s lyrics—whether journeys, light and darkness, childhood memories, nature, love, or social reflection—creates a rich and multi-layered universe. These symbols provide emotional nuance, multiple levels of interpretation, and lasting resonance, allowing listeners to engage with their music both intellectually and emotionally. Revisiting their songs with attention to these motifs reveals new meanings, connecting the listener more profoundly to the stories, experiences, and reflections embedded in each composition. By exploring these recurring themes, fans can gain a fuller understanding of their artistic evolution and the enduring significance of their collaboration.

Photos courtesy of Miquel Sala

Between Memory and Future: When Music Becomes Legacy

The upcoming premiere of This Is Not A Drill in New York brings with it a story that transcends theatre. It is not only a musical about urgency and humanity, but also a dialogue between generations, carried by the hands of those who have shaped its sound. At its heart are two musicians whose paths, though different, converge meaningfully: Ben Babylon, son of the late Guy Babylon, and Paul Bogaev, whose legendary career on Broadway and in film has left a lasting mark. Together, they embody a bridge between past and future, between memory and innovation.

Today, we step into this universe with two voices who make it grow and shine: Ben Babylon and Paul Bogaev.

Ben Babylon is a young musician and music director who has grown up surrounded by instruments and memories. Son of Kathy Babylon and the late Guy Babylon — keyboardist and arranger for Elton John — Ben has inherited both passion and creativity. His journey has taken him through studio work, production, live performance, and now the world of musical theatre. In This Is Not A Drill, he has been a key figure: recording much of the music, assisting in musical direction, and leaving his mark on the arrangements and atmospheres that define the show.

Paul Bogaev, by contrast, is an established figure. A Grammy Award winner with a long career on Broadway and in Hollywood, he has been music director, arranger, and composer for musicals and films that are now part of history: Aida, Tarzan, Sunset Boulevard, Les Misérables, Cats, Chicago, Dreamgirls, The Lion King… His connection with the Babylon family runs deep: he worked closely with Guy Babylon on Aida, and now, years later, life has brought him to collaborate with Ben. A meeting that feels like a circle closing — and opening again.

And so, with all this in mind, we begin by listening to Ben Babylon, whose personal and creative journey opens the door to understanding how This Is Not A Drill was shaped.

Ben, you’ve played a key role in the production of This Is Not A Drill, from recording much of the music in the studio to assisting with musical direction. What has this experience been like for you?

It has been an incredibly rewarding and exciting experience. I have never done anything like this before, and it has been amazing to watch the process. Around 6 years ago, my mom told me she was starting to work on a musical with Holly (Doubet), and I thought – oh, that sounds fun! But I never could have imagined what it would eventually turn into. They asked me to help them create some demos for some of the songs — but with my mom and Holly, they never do anything halfway. Those demos turned into full-blown productions. It was a really fun process. They really wanted to fully conceptualize these songs, they didn’t want them to sound like demos. So they allowed me the opportunity to really have a lot of fun producing some of the songs with full band and orchestral arrangements, and to explore all sorts of instrumentation. From doing more rock/pop inspired tunes where I got to work with some of my favorite musicians and collaborators — like my incredibly talented friends Tristan Beltrami on guitar, David Kohn on drums, Alex Arnaout on bass, Aaron Burch on vocals; as well as legendary musicians and collaborators of my dad’s, like John Mahon on percussion and Ken Stacey on vocals. They also pushed me and gave me the opportunity to write strings and horn arrangements, as well as exploring all sorts of genres and production/songwriting styles. I also got to work with my mom, which I hadn’t done much of up to this point, which was very special and something I will always cherish. Even after creating some really amazing recordings with all these talented people, I had no idea what it would ultimately become. I only knew these songs as songs, and not really part of a larger story. Soon enough they were doing live readings with casts, and it wasn’t until they did their first reading in Texas that I understood the bigger picture of it all. I didn’t get to attend that first reading, but I got to see it on video, and I got to see these songs in the context of the greater story, and I was blown away. I started to realize that this was all part of something much bigger — something I couldn’t have imagined then, and probably still can’t fully. I got to join them for the next live reading in New York earlier this year, and that is when I truly got introduced to the world of Broadway musicals, and I got to see the process and the incredible amount of work that goes into putting a musical like this on stage. It’s been a really amazing journey, and it still feels like it just started.

How did collaborating with Paul Bogaev on the overture feel, especially working in the same studio where your father recorded for Aida? How did that connection influence your approach to This Is Not A Drill?

Working with Paul Bogaev was really special. I had never written an overture before, and I honestly didn’t even know how to go about it or where to start. Paul was an excellent guide through this process, and collaborating with him was an invaluable learning experience for me. I had musical ideas, but Paul knew how to guide them into the form of an overture. Paul has an amazing mind, and he would have ideas that I never would have thought of that elevated the overture to be not just an interesting musical piece to listen to, but also a captivating storytelling experience. Sometimes, when working with somebody who is much more experienced than you in a certain field, they can have a tendency to make you feel inept, or to fully take command to do it their way. But working with Paul was truly a collaborative process. Even with so much more experience than me, he was willing to hear my ideas and to do things in a way that may not be traditional, and was genuinely excited and inspired doing it in a new, maybe refreshing way. And in turn, I got to learn so much from Paul, and got to see how his brilliant mind works. We recorded it in my family’s home studio, the studio my dad built, and the same studio where Paul and my dad worked on Aida, which brought a whole other meaningful layer to this process. He would have these flashbacks as we were working, telling me stories about my dad, pointing out in which ways I reminded him of my dad, and I got to learn so much not only musically, but also about my dad and what he was like and how he worked. It really was a meaningful experience for the both of us, and I am excited to continue working with him on this project and and hopefully on many more in the future.

Working closely with the cast and creative team, how did you help shape the musical’s sound and atmosphere, and what challenges or surprises did you encounter along the way?

I think a lot of the mark I've made on this project comes from the original "demo" productions that I produced before a cast, book, or large creative team was even in the picture. The songs my mom and Holly wrote were truly special, and when I approached the production of the demos, I was hardly thinking of the "Broadway" sound or anything like that — I just wanted these songs to feel fully realized on their own and I approached the production like I would with any other pop or rock song. Holly and my mom definitely kept their vision intact, but they allowed me to put my mark on the arrangements and production. When later translated to stage, I think this is part of what sets these songs apart from other musicals. Because while we definitely re-arranged the songs to be better translated to stage, we still emulated a lot of the production and arrangement elements from those original demo productions. Now, as we prepare for the full production of This is Not A Drill premiering in a couple weeks, I am working closely with the insanely talented music director, David John Madore, which is also a wonderfully fruitful collaboration. David has amazing sensibilities for adapting these songs for stage, and I don’t think we could have a better person for the job. The collaboration is great, because he is able to figure out how these songs can be translated best for this medium, and the kinds of sacrifices, changes, and improvements we need to make in order to be the most impactful it can be within the context of full story, while I bring different sensibilities relating to the original intention of the arrangements and vibe that we desire for each song. There have been a lot of ideas David has come up with that have really surprised me and taught me a lot about this foreign world to me. There are just certain things that are different when you produce a recorded song versus when you translate that to a live band for stage in the context of a complete story, and that is what David and I have been working on. There are all sorts of challenges and elements to think about — things like scene transitions, song endings crafted to spark a specific audience reaction, or arrangement changes that inspire the actors to fully dive into their characters, that you just don’t think about when producing a song. And luckily, the whole team we are working with — including Holly, my mom, the director Gabe Barre, the whole cast and crew — is extremely talented, and willing to collaborate and to change things in order to achieve the best possible outcome. Everybody is working unbelievably hard to help This is Not A Drill come to life, and believe me — it takes a lot of work from a lot of people to make something like this happen, and no one is underdelivering. We truly have an amazing group of people, and that is making all the difference.

David John Madore is a musical director, pianist, composer, and vocal coach based in New York. With an established career in musical theatre, he has been involved in numerous notable productions, particularly at the cabaret 54. In addition to his work as a musical director, Madore is also a vocal coach and composer, offering services through his website and sharing his expertise in musical direction, accompaniment, and composition (www.madoremusic.com)

So Ben, what current projects are you working on, and how do you see your career evolving in the near future?

Other than This Is Not A Drill, I have been working in California, producing artists and bands out of my home studio. Over the past couple years, I’ve produced a several projects I am very proud of, including Mar Solis’s debut album Colors of Love, Kudos To’s first single Jackie, and an upcoming album for the band Sir Please of which a couple singles have been released including 21st Century Funk, Trippin, and Fever. I’ve also been composing music for film and TV with my good friend and collaborator Tristan Beltrami. We recently scored the HBO docuseries about Ted Turner, Call Me Ted, with the music supervision of Marco Beltrami, and we are currently working on a very exciting Netflix documentary. And there’s some more projects in the works, but that’s where I’ll leave it for now!

Thank you, Ben, so nice to be with you. When Ben speaks of working side by side with Paul Bogaev, there is a clear sense of respect, admiration, and learning. It feels natural, then, to turn now to Paul Bogaev, whose decades of experience meet the enthusiasm of a new generation.

Paul, Ben has just described how meaningful it was to collaborate with you on the overture, especially in the studio that once echoed with your work alongside his father. How did you experience this collaboration, and what drew you to this project in the first place?

Kathy Babylon called me and told me about a show they were working on called 38 MINUTES. I knew the basic history behind it and was intrigued with the human element involved. I had worked with Kathy’s late husband, Guy Babylon on Elton John’s AIDA and I was very impressed with the songs and their arrangements by Ben Babylon, Guy and Kathy’s son.

Collaborating with Holly Doubet, Kathy Babylon, and Ben Babylon on the overture must have been a unique experience. Could you share what that collaboration was like and how it influenced the musical's direction?

I loved working with Ben on the overture and felt he “got” my way of insisting on telling a story with the music that would lead well into the beginning of the show and not just putting together a bunch of songs that sounded good. Holly and Kathy responded immediately to our work and the fact that we are all on the same page about the music bodes well for the next phase of the show.

Given your extensive background in both Broadway and film, how did you approach the musical direction for this production, and what challenges did you face in translating the story's emotions into music?

All good musical direction, I believe, stems from using the lyrics of each song like a 3 act play. The musical choices come from that whether on stage or on film.

Working in the same studio where you previously collaborated with Guy Babylon on Aida, and having worked with Elton John projects before, how did that environment and past experience influence your work on This Is Not A Drill?

It was wonderful and very meaningful for me to work with Ben in the studio where his father and I worked. I know Guy would be so proud of his son!

Looking ahead, what projects are you currently working on, and how do you see the evolution of musical theatre in the coming years?

I am now writing music and lyrics for a musical piece that will be performed in January. It involves a meeting of The Holocaust and Black History. The finale of the piece is called NEVER AGAIN if that gives you an idea of how much this subject means to me. I am also planning performances of NO SURRENDER -A songs by Bruce Springsteen and Tom Waits, my solo show that I did last year in London.

Thank you, Paul, such a blessed to be in touch with you too

Their voices, divided by generations and experiences, converge on the same stage: music as a living legacy. Ben brings the freshness and energy of a new vision; Paul brings the wisdom and memory of a long journey. And in the background, like a constant presence, resonates the memory of Guy Babylon, inspiring them both. This Is Not A Drill is not just a musical: it is a shared story, a dialogue between past and future, sung in the present.

Pictures courtesy of Kathy Babylon

In the Hour of Uncertainty: Hearts of This Is Not a Drill (Meet The Cast)

In our previous exploration, we looked at the music and arrangements that give This Is Not a Drill its unique sound. But a musical only truly comes alive through its performers—the voices, bodies, and emotions that transform words on a page into lived experience on stage. This production, inspired by the real-life 2018 Hawaii missile alert, thrives not only because of its score but because of the extraordinary cast assembled to embody its diverse characters.

The performers, many with impressive Broadway and touring credentials, bring both technical mastery and emotional truth. They make the audience laugh, cry, and reflect, each voice and gesture layering the story with nuance. What could have been a simple dramatization of a news event becomes, through their artistry, a meditation on love, identity, fear, and resilience.

This Is Not a Drill is more than a musical about a missile alert in Hawaii—it is a study in human resilience, brought vividly to life by a versatile and seasoned cast. Each character is crafted with nuance, and the actors’ performances translate these complexities into an emotionally compelling experience:

Jessica – Felicia Finley

Jessica, portrayed by Felicia Finley (The Wedding Singer, Mamma Mia!, Aida), is an author and mother grappling with her husband’s infidelity. A belt soprano of great power, Finley conveys a compelling mix of vulnerability and determination, transforming Jessica’s personal crisis into a relatable journey. Her solo numbers resonate with honesty and dramatic tension, anchoring the emotional core of the show.

Tony and Chris – Chris Doubet and Matthew Curiano

This gay couple from Cincinnati, played by Chris Doubet (Jersey Boys) and Matthew Curiano (Aladdin, Doctor Zhivago), bring humor and heart to the story. Their post-adoption struggles are rendered with warmth and authenticity, and their duets—including Cincinnati Boys and Somebody Somewhere—highlight the musical’s harmonic sophistication while providing moments of tenderness and reflection. Their chemistry gives the audience both laughter and deep empathy.

Sophie, Derek, and Mom – Aurelia Williams, Gary Edwards, and Kaitlin Burke

An older African American couple questioning the strength of their bond, Sophie and Derek are voiced through rich R&B ballads. Aurelia Williams (In Transit, Ragtime) and Gary Edwards (Ain’t Too Proud, The Color Purple) bring layered emotional depth, illustrating how love can endure and transform under pressure. Alongside them, Kaitlin Burke (The Phantom of the Opera, South Pacific) portrays the Hawaiian mother, adding further authenticity and emotional nuance. Their moments are some of the most musically and dramatically powerful in the production, often leaving the audience breathless.

Kaleo and Ikaia – Victor E. Chan and Sam Poon

Representing the Hawaiian-Asian family dynamic, Kaleo and his teenage son Ikaia capture the tension between tradition and personal growth. Victor E. Chan (Miss Saigon, The King and I) and Sam Poon (Runaways, The King and I) bring authenticity and heart to this duo. Their mid-range vocal performances emphasize the struggles and eventual cohesion of a family facing uncertainty. The actors’ chemistry and timing allow the audience to witness authentic family dynamics, culminating in an emotionally satisfying resolution.

Anonymous Button Guy – Lukas Poost

The man who triggers the missile alert is played by Lukas Poost (The Book of Mormon, Hairspray), a rock-style performer whose unhinged, unpredictable energy injects comedic relief into the story. His timing and charisma enhance the musical’s satirical dimension, offering a necessary counterpoint to the show’s heavier themes. 

Madeline – Marianne Tatum

The hotel manager who handles the music excursions, Iuau's and entertainment for the hotel. She also plays the role of Jessica's mother.

Huge – Bill Coyne and Victor E. Chan

The satirical duet Huge is delivered by Bill Coyne (Les Misérables, Beautiful: The Carole King Musical) and Victor E. Chan. Their performance balances sharp comedy with biting social commentary, elevating the political satire within the show.

Xavier Reyes and T. Shyvonne Stewart serve as swings for the cast, showcasing extraordinary versatility and adaptability. 

What makes This Is Not a Drill compelling is not only its timely narrative but the depth of its cast. Each performer brings Broadway and touring expertise, channeling their artistry into roles that are both humorous and heart-wrenching. From Felicia Finley’s vocal command to Aurelia Williams’ emotional gravitas and Lukas Poost’s eccentric brilliance, the ensemble transforms a moment of global fear into a resonant, human story of love, identity, and resilience.

Pictures and video courtesy of Kathy Babylon:

Cincinatti Boys

Video by Matt Curiano - from THIS IS NOT A DRILL- The Musical

Sound, Story, and Soul: Inside the Musical World of This Is Not a Drill

The essence of any musical lies in its score—the way melodies and lyrics intertwine to advance the narrative and deepen emotional impact. In This Is Not a Drill, the music serves as both a storytelling device and an emotional compass, carrying the audience through a spectrum of moods that mirror the unfolding drama. From sweeping ensemble numbers to intimate ballads, each song has been carefully crafted to highlight the characters’ journeys while reflecting broader themes of love, resilience, and human connection. 

The following selection offers a closer look at how the score shapes the identity of this remarkable production:

This Is Not a Drill Overture – A dramatic and cinematic opening that sets the stage, blending urgency with anticipation. It immediately transports the audience into the emotional world of the musical. Musically, the orchestration nods to classic Broadway overtures, but with a contemporary edge that reflects the show’s modern spirit.

Land of Aloha – A heartfelt tribute to Hawai‘i, highlighting its warmth, beauty, and deep sense of community. Both celebratory and nostalgic, it captures the island spirit. It welcomes the audience with warmth while foreshadowing the challenges ahead. Its musical style blends tropical rhythms and harmonies, evoking the setting while staying rooted in theatrical tradition.

Am I Enough – A reflective ballad that dives into themes of self-doubt and resilience. Vulnerable and intimate, it invites the listener into an emotional inner journey. It serves as a poignant emotional anchor early in the story. Musically, it leans on heartfelt ballad traditions, with a melody that builds in intensity as emotions rise.

Cincinnati Boys – Injecting energy and humor, this number introduces characters whose personalities light up the stage. It provides comic relief while reinforcing themes of friendship and resilience. Stylistically, it plays with upbeat tempos and playful wordplay, reminiscent of ensemble numbers in golden-age musicals.

Start All Over – A hopeful anthem about second chances and renewal. It carries a message of resilience after fear and uncertainty. Musically, it is uplifting, with a soaring chorus that invites the audience to believe in hope and fresh beginnings.

Happy Thoughts – A whimsical moment that lightens the atmosphere, offering a reminder of optimism in the face of chaos. It functions almost like a breath of air between heavier scenes. Its bouncy rhythm and bright harmonies recall the style of classic feel-good show tunes.

The Real Thing – Honest and raw, this piece dives into the difference between appearances and authenticity, both in human relationships and in the larger world. It challenges characters to confront what truly matters. The arrangement has a soulful edge, blending modern pop influences with traditional musical theatre sensibilities.

This You Should Know – A heartfelt confession, this ballad reveals truths that have long remained unspoken. It’s one of the show’s emotional highlights, pulling the audience into the intimacy of personal revelation. Musically, its slower tempo and tender instrumentation allow the vocals to shine with raw honesty.

How Could I Have Known – A tender and regretful song, touching on missed signs and unexpected turns, questioning choices made under pressure. It embodies the universal theme of wishing for clarity too late. Musically, it balances soft verses with a dramatic, almost cinematic chorus, underlining the intensity of the emotion.

No Matter What Happens – A song of solidarity, this piece highlights the bonds that form when people face crisis together. It delivers reassurance and unity in the face of uncertainty. Musically, it is short but impactful, with layered harmonies that feel almost hymn-like.

Words – A reflective song on the weight language carries in times of crisis. Gentle yet impactful, it showcases the fragility of communication during moments of crisis. It questions how words can both heal and fail. The arrangement is stripped back, spotlighting lyrics and vocals, with gentle accompaniment that mirrors vulnerability.

Damn I’m Sorry – A raw, emotional apology, this number captures the struggle to mend relationships when trust has been broken. It resonates with the theme of reconciliation. Musically, it has a contemporary feel, drawing influence from modern pop ballads, with heartfelt vocal delivery at its core.

Somebody Somewhere – This song speaks to the universal yearning for connection, even across distance. It brings out the hope that no one is truly alone. Its gentle, flowing melody recalls the tradition of reflective Broadway duets and ensemble numbers.

Waving Goodbye – A deeply emotional highlight. One of the most moving songs of the show, this piece deals with partings, loss, and the bittersweet nature of farewell. It is a key emotional climax in the musical. The score swells with orchestration, balancing sorrow with beauty, making it a standout ballad.

Face of Love – This number celebrates compassion and empathy, putting human connection at the center of the narrative. It serves as a thematic turning point toward healing. Warm and moving, it’s a beacon of hope. Musically, it combines a lyrical melody with uplifting harmonies, evoking both gospel and pop influences.

Show Aloha – The closing number brings everything full circle, celebrating community, empathy, and love. It leaves the audience with an uplifting message of resilience and love. Its jubilant rhythms and celebratory chorus ensure the musical closes on a note of joy and unity.

A standout aspect of This Is Not a Drill is the meticulous and expressive arrangement work by Ben Babylon, created in close collaboration with Paul Bogaev. From the opening overture to the finale, their joint orchestration demonstrates a sophisticated understanding of pacing, texture, and emotional nuance.

Taken as a whole, the songs of This Is Not a Drill carry the audience on a profound emotional journey, moving seamlessly from moments of fear and uncertainty to vulnerability, connection, and ultimately hope. Each piece resonates not only as a musical number but as a window into the hearts of the characters, allowing the performers’ voices to illuminate the human experience at the core of the story. By the finale, the audience is left uplifted, reflective, and fully immersed in the world the music has so vividly brought to life.

“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

Facing the Unexpected: The Story Behind This Is Not A Drill

Sometimes reality surpasses fiction with unexpected intensity. On January 13, 2018, a ballistic missile alert shook the calm of Hawai‘i: for long 38 minutes, panic and confusion ran high. When it was finally confirmed to be a false alarm caused by human error, another wave of emotions unfolded. 

This real-life event is the basis for This Is Not A Drill, a musical by Holly Doubet, with book by Holly Doubet and Joe McDonough Music and lyrics co-written with Holly Doubet, Kathy Babylon and John Vester, that delves into the human response to the unforeseen, exploring connection, reactions, and redemption. 

Holly Doubet, originally from Texas, studied piano at the Royal Academy of Music in London and also holds degrees in voice and piano from the United States. She has built a multifaceted career: composing songs for the children’s series Barney and Friends, performing professionally as a singer in studios and venues in Los Angeles and Las Vegas, and leading her own band. Her return to stage composition reflects great artistic maturity and a personal perspective that permeates the entire piece. 

Kathy Babylon is a writer and lyricist with a narrative voice rooted in personal memory that resonates with collective truths. Married to keyboardist Guy Babylon (Elton John’s arranger), and mother to Ben Babylon, she brings literary and emotional sensitivity that deeply enriches the score. 

The musical direction benefits from the expertise of Paul Bogaev, a renowned producer and musical director of major Broadway shows. Ben Babylon has been a key part of the process: recording most of the music in the studio, working closely with Bogaev, and serving as assistant musical director and keyboardist (Keys 2) during performances. 

Several cast members of This Is Not A Drill have previously been involved in Aida, the acclaimed musical by Elton John and Tim Rice. Notably, Felicia Finley, who starred as Amneris in Aida, brings her powerful presence and experience to this new production. This connection enriches This Is Not A Drill, linking it to a legacy of celebrated musical theatre and showcasing how past collaborations and experiences continue to inspire and shape contemporary works.

The show is set to premiere this September at the Theatre at St. Jean’s in New York. This musical aims to be an artistic and emotional experience that invites audiences to reflect on how we live, react, and come together when everything seems to be shaken Stay tuned—tomorrow we will be sharing an exclusive interview with Kathy Babylon and Holly Doubet, offering deeper insights into the creation and meaning behind This Is Not A Drill.

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