Andrew received his Master of Arts in Musical Theatre Writing from Goldsmiths College-University of London in 2012 and is also a graduate of the advanced BMI Lehman Engel Musical Theater Writing workshop in NYC. He wrote the music for But I’m a Cheerleader, the Musical, with lyricist Bill Augustin, which was a finalist for the Jerry Bock Award, was part of the ASCAP Workshop in May 2005, and won the Audience Award for "Best Musical" at the 2005 New York Musical Theatre Festival. A career highlight was doing a reading of the show in London in 2013 with Tony-Award winning director Jerry Mitchell. He also wrote the music for the 10-minute musical Delilah at the Raw Impressions workshop and Some Snap which premiered at the Metropolitan Playhouse in New York. He has also written numerous cabaret pieces including two songs for Ziegfield's Folly, a one man show for Michael Ziegfield in NYC, a one-act parody called Come Dine With a Top Chef in Hell’s Kitchen and a commissioned song for the Red, Hot, Mamas (all with lyricist Bill Augustin). Currently, he’s working on The Death..and Life..of Mary Shelley with lyricist John Atkins and book writer Joan Ross Sorkin. Classical compositions include two choral works, a wedding psalm, and chamber works, including the incidental music to a 12-minute contemporary dance piece entitled Goddess in 3.
But I’m a Cheerleader, the Musical - check out the News page for the latest on this fantastic musical!
New York Musical Theatre Festival-2005
“Mr. Abrams's score offers a well-tempered mix of catchy choruses and belty ballads, and Mr. Augustin's book has bolstered the film's affirmative agenda. The production, directed by Daniel Goldstein and choreographed by Wendy Seyb, looks well on its way to Broadway polish.”
~ Rob Kendt - New York Times
“Based on the 1999 cult film of the same title, But I'm a Cheerleader is a hilarious new musical comedy in the vein of shows like Hairspray and Bat Boy. Book writer and lyricist Bill Augustin has followed the basic plot of the movie and even lifted some of its best lines verbatim. He has also provided plenty of his own snappy dialogue and further develops some of the film's subplots and supporting characters. Andrew Abrams' pop-rock score is catchy and full of pep. As directed by Daniel Goldstein, the production has style, spunk, and a whole lot of heart.”