Review: Holiday hilarity in Troubies’ ‘Die Heart: The Director’s Cut’ at Colony Theatre
- Mayank Keshaviah
- 3 days ago
- 5 min read
Like the return of double-breasted suits with shoulder pads, Polaroid cameras and boom boxes, the 1980s are back on stage, too, as the Troubadour Theater Company (affectionally known as the Troubies) brings us the latest iteration of one of its famous mashups of well-known stories and musical artists’ songbooks.
This time it’s the movie “Die Hard” to the soundtrack of Heart. And in true throwback spirit, it’s roughly the same show the company first performed in 2022, with a few small tweaks, hence “the Director’s Cut.”
Now if you’re in the camp that doesn’t believe “Die Hard” is a Christmas movie, perhaps the Troubies will make a believer out of you. And if you’re already a ‘Troubie-liever,’ you’re in for a healthy dose of holiday hilarity. If you saw the first iteration of the show a few years back, still go because the way company members go off script, improv on the fly and make topical jokes ensures every performance is truly unique.
The basic storyline for those who’ve never seen “Die Hard” (seriously, you’ve never seen “Die Hard”??), is that a group of German terrorists (ah, back in the days when terrorists could still be white) try to take over Nakatomi Plaza, a Japanese-owned L.A. office tower, so they can steal $640 million in bonds from its vault. NYPD cop John McClain, in town hoping to reconcile with his estranged wife Holly (who works in the building) at her company’s Christmas party, suddenly has the role of hero thrust upon him when the terrorists take everyone else in the skyscraper hostage.
Troubies founder and artistic director Matt Walker plays McClain in an oversized muscle suit that’s grounded in the company’s DNA of Commedia dell'arte and slapstick. As always, Walker brings his clowning and improv chops to the role, playing it with confidence and winking humor. His nemesis, Hans Gruber, is played by another longtime company member, Rick Batalla, who hams up the role, preening and strutting like a bearded peacock in leather pants with a ridiculous, vaguely European accent.
The third veteran of the troupe, Beth Kennedy, wears many hats, playing Deputy Chief Robinson of the LAPD (who often speaks lines from “The Breakfast Club,” in which the original film actor was cast), Gruber’s henchman Fritz Schnitzel (who nonsensically strings together random German words), and of course The Winter Warlock (a staple of Troubie shows from years past). Kennedy showcases both her versatility and zany antics in these roles.
As Nerf-gun bullets fly, Chelle Denton as Holly tries to stay out of the line of fire while secretly helping John stay a step ahead of Gruber and his sidekicks. Denton is the strongest singer in the cast, with a vocal timbre reminiscent of Ann Wilson that shines in songs like “Alone” and “What About Love.” True to Troubie tradition, Walker has rewritten the lyrics to a number of Heart’s originals, most memorably “Barracuda” (rewritten as “Hans-a Gruber”). The “Troubadorchestra,” led by musical director Ryan Whyman, brings the proper ‘80s-power-ballad sound to Heart’s rock anthems.
The vibe of that decade is also captured in the frequent references to ‘80s TV shows and movies, fax machines, corded phones, and of course, cocaine. One running gag involves Holly’s coworker Ellis (a properly sleazy John Paul Batista) with increasingly ridiculous amounts of the “booger sugar” all over his face as the show progresses. Let it snow, indeed!
Not to be outdone is Karl (an outlandish Philip McNiven), another of Gruber’s henchman, dressed in a flowing blonde wig and white leggings with an inguinal bulge that grows to ludicrous proportions as the show goes on. The one negative throwback to the Reagan era is the fact that Nakatomi executive Takagi is cast inauthentically, à la Jonathan Pryce in “Miss Saigon.”
Walker showcases classic physical comedy, such as when three rectangular plates transform into stairs, fan blades, an air shaft and many other objects. German Diaz’s props in that scene, as well as in the rest of the show, combine a creative minimalism with a childlike playfulness that bolsters the humor. Suzanne Narbonne’s array of “hair band” wigs and Douglas Leadwell’s ugly Christmas sweaters and leather pants also amplify the laughs.
Aided by Bo Tindell’s nimble lighting design, Walker’s direction uses the entire theatrical space to great effect. The Troubies also continue their tradition of audience interaction, both by singling out latecomers to the show (“You’re So Late,” taking off on Carly Simon) and bringing a few audience members up on stage to join the action. The communal spirit among the audience can’t be understated, as many long-time subscribers know the schtick well and sing along on cue.
After the performance, I had dinner with a friend working in AI filmmaking who told me how voice actors are being replaced in the industry, and soon other jobs would follow. As I lamented that outcome, we agreed that one thing such technology would not replace anytime soon is live theatre.
Celebrating their 30th anniversary this year, the Troubies will hopefully be around for at least 30 more. And as society’s pendulum begins to swing away from the excesses of our tech-saturated lifestyles, perhaps people will return to live theatre in even bigger numbers, realizing it’s one of the few remaining spaces offering an unmediated ability to connect with other humans and be fully present. For that reason alone, a trip back in time to an era before AI, smartphones, and the Internet is a perfect Christmas present.
“Die Heart: The Director’s Cut” continues through Dec. 21 at The Colony Theatre, 555 N. Third St., Burbank, with shows Thursdays and Fridays at 8 p.m., Saturdays at 4 p.m. and 8 p.m., and Sundays at 4 p.m. and 7:30 p.m. For tickets and other information, visit Troubie.com or ColonyTheatre.org, or call the box office at (818) 558-7000. Run time is 1 hour and 45 minutes, including intermission.
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