THIS IS NOT A DRILL

The York Theater presents the world premiere of This Is Not a Drill, a musical set in
2018 at a Hawaiian resort, recounting the notorious false missile alert incident. The narrative draws inspiration from the personal experiences of the creator, Holly Doubet, during that pivotal event.

The set features a charming, outdoorsy, tiki-inspired design, complete with benches and a spacious awning. A live band performs upstage, complementing the activities taking place at the center of the stage. However, the somewhat harsh lighting design, occasionally floods the audience with bright lights obscuring our view of the stage for brief moments.

One by one, the characters are introduced, but they often feel shallow and rely on stereotypes. For instance, there’s an effeminate gay man who dramatically pulls a pride flag and hand fans from his suitcase, frequently exclaiming phrases like “a gay old time.” There’s also a Black father whose storyline revolves around abandoning his child, only to have a change of heart, along with an insecure middle-aged white woman married to a problematic husband, who finds herself in Hawaii.

The dialogue and acting form the paradigm of cheesy musical theater. Towards the end of the musical, there’s a moment where the stereotypical gay character and
middle-aged white woman discuss how “It’s us who pay” for the government’s mistakes.

This perspective rings rather absurd, especially considering they are two tourists on a luxury vacation in Hawaii. A redeeming quality of the production is the character played by Lukas Poost, who demonstrates great comedic timing and physical comedy skills.

This is Not a Drill’s message comes across as relatively superficial, lacking the depth
needed to engage its audience fully. While it might appear straightforward at first glance, a more nuanced approach could significantly enhance its storytelling and audience engageability.

EYE ON THE ARTS, NY — Frankie Lehr