Good times & Die Hard rhymes.

Well wouldn’t you know it. It’s that most wonderful time of the year again. The most joyous of occasions when we can all cosy up around an open fire (or social media) to ceaselessly debate about whether Die Hard is an actual Christmas movie.

Like death and taxes, people’s steadfast ability to argue ad nauseam about Die Hard’s relative festive merits is one of the only true guarantees in this lifetime. Quite honestly, the debate has been done to death, yet, beneath all the repetitive jabber, it’s often forgotten just how influential Die Hard is.

As a pitch perfect piece of action cinema, Die Hard’s impact on popular (and, it must be said, unpopular) culture, even after all this time, is undeniable. Sure, it’s just a film, and a pretty cheesy one at that, however, its appeal has truly endured, allowing it to hit so much deeper and connect far more forcefully than most.

And no one is more acutely aware of this than Richard Marsh - a man, a poet, a fan, a husband, a dad - for whom Die Hard really is for life and not just for Christmas.

Interweaving a blow-for-blow recap of the Die Hard plot with his very personal, ever-evolving connection to it all, Richard pulls us into a life spent flitting between heady 80s action and the creeping mundanities of domestic life. Through an effective mix of pinpoint poetry, personality, and charming playfulness, we’re taken well beyond the confines of Richard’s limited staging and whisked back and forth between film and family.

On the Die Hard side of things, every key character and plot point from the film is covered, as Richard’s impressive impression skills come to the fore, evoking everyone from Gruber to Holy to Harry to Bruce Willis’ McClane with gleeful abandon. Slipping between characters with masterful precision, Richard’s devotion to the 80s classic is clear for all to see, letting his freak flag fly, yet doing so with a wry smile and an open approach that accommodates even the most Die Hard casuals.

Evoking Nakatomi Plaza and the action therein with nothing but a half-eaten box of After Eights, teddy bears, a watering can, and, at several points, just his fingers, Richard works meticulously through Die Hard’s plot, taking affectionate pot-shots at its various holes, cliches, and idiosyncrasies along the way. Through Hal Chambers’ effective direction and Richard’s propulsive rhymes, Die Hard is resurrected before us in a way that’s simultaneously reverent and cheekily ribbing, while managing to cater to both fans and the uninitiated alike.

As you can imagine, Yippee Ki Yay is certainly on the spoiler-heavy side, so for those who have (somehow) managed to avoid Die Hard for the past 34 years, a prior viewing would be advised, however, it’s not a necessity, and there really is far more to the show than mere nostalgia. Make no mistake, Yippee Ki Yay isn’t the first, and certainly won’t be the last, film pastiche to come out of the Edinburgh Fringe, yet what it does do far better than most is ensure its emotional foundations are firmly in place before layering on all the parodies and impressions.

Underpinning it all, it’s Yippee Ki Yay’s surprisingly warm personal notes that make the show a resounding success. Starting with the initial Die Hard-centric spark that ignited Richard and his wife’s relationship, before whisking us through the infinitely relatable journey of love’s ups and downs, all underscored by the movie’s pervasive presence, the show hits far harder and far deeper than initial impressions may suggest.

With no real set to hide behind, this really is every inch the one-man-show it promises, and rather than let the sparseness of his surroundings limit him, Richard positively thrives within them. Innovative prop usage, together with impressively effective sound design, allow Yippee Ki Yay to reach its full potential, and lets its star make the most of his theatrical restrictions.

Carrying the air of an infectiously enthusiastic nerd while exuding serious world-weary dad energy, Richard strikes the perfect balance between both tones, managing to keep us emotionally engaged and thoroughly entertained throughout.

The result really is quite something. With a heady blend of intricate wordplay, infectious enthusiasm, geeky passion, and a tonne of heart, Yippee Ki Yay is both a lovingly penned ode to - and reverently constructed parody of - an 80s action classic. With a stripped back, highly personable approach, Richard Marsh makes the most of his limited surroundings, utilising comedy, compassion, and astute observational rhymes for an affectionate, affective tale that will make for a true festive treat.

Yippee Ki Yay plays at the King’s Head Theatre in Angel until 31st December with a host of nationwide dates to follow.