Yippee Ki Yay ★★★★★

Die Hard – the film that launched Bruce Willis’s career as a Hollywood action hero, marked the screen debut of Alan Rickman, and generated a debate that rages on today as to whether it’s a Christmas film or not – has thrilled fans for more than thirty years. With a thirty-million-dollar budget (in the late 80s) and an abundance of impressive special effects (plus gratuitous violence), it may seem an unlikely movie for a person to replicate single-handedly. And through the medium of poetry. Step forward Richard Marsh, wordsmith and self-confessed Die Hard devotee, and his parody show Yippee Ki Yay.

The show, like the film, centres on off-duty New York cop John McClane, who flies to Los Angeles to surprise his estranged wife. Arriving at her office Christmas party at the Nakatomi Plaza skyscraper shortly before a group of terrorists storms the building (in search of money being held in the company vault), he becomes engaged in a deadly battle of survival and defeating the bad guys. Interspersed with the movie plot are Richard’s recollections of his own relationship with his girlfriend, which began through a mutual love of this very film.

To describe the premise of this production as ambitious would be an understatement, but Richard has achieved something very special in the execution of it. The standard of his writing is exceptional – the prose flows freely and pushes the narrative along at pace. His stage presence is commanding, even though he has unassuming charm not unlike his hero John McClane. This is confident, clever stuff, but not once does it come across as arrogant or pretentious.

Along with the poetry there are gags aplenty – many references to Eighties culture as well as today’s, and there is much to laugh at. Impressions of the main actors are spot on and another source of humour. Mime is used to great effect to convey fight sequences. Props are kept to a minimum (not wishing to match the budget of the movie!) but are well utilised and add even more to the comedic value. Great things are achieved through atmospheric light and sound, with sound effects providing the impression of gunfire, car chases, and the like. It isn’t all about spectacular stunts – the moments when Richard talks about his own challenges are touching and provide a good sense of contrast.

To stand alone on a stage for seventy-five minutes and hold the audience’s attention throughout is remarkable. This is a masterclass in writing and storytelling and deserves every plaudit that comes its way.