A ‘Die Hard’ Holiday… with Strings Attached
Writer Joseph J. Airdo
The sound of gunfire mingles with Christmas carols as a John McClane puppet dangles precariously from Nakatomi Plaza. Welcome to Phoenix’s most unconventional holiday tradition: All Puppet Players’ “Die Hard: A Christmas Story,” where felt meets firepower in a production that’s definitely not suitable for milk and cookies.
“Imagine the Muppets mixed with ‘Family Guy,’” says founder Shaun Michael McNamara. “That’s probably the closest comparison to what we do. But there’s also this live concert energy, because the puppets might decide at any moment that what’s happening in the audience is more interesting than what’s on stage.”
Now in its seventh season, this R-rated puppet spectacular has become Phoenix’s alternative answer to “The Nutcracker,” drawing sold-out crowds to Playhouse on the Park for a uniquely adult holiday experience. But the path to puppet stardom wasn’t always clear for McNamara, whose journey began in an unlikely place: a fifth grade after-school program at Bicentennial Elementary School in Glendale.
“I was incredibly shy back then — no way could I talk in front of a room full of people,” McNamara recalls. “But I was obsessed with the Muppets as an ‘80s kid, so puppetry was right in my wheelhouse. It gave me this amazing ‘Oh my God, I can actually do this’ feeling.”
That childhood passion evolved through stints at Disneyland and Universal Studios, where McNamara performed characters like Chucky and Donkey. But the path from theme park performer to Phoenix cultural innovator wasn’t a straight line.
“I was just doing it as a gig, thinking I’d be the next Jim Carrey in movies,” McNamara admits. “Of course, I didn’t realize Hollywood wasn’t looking for another Jim Carrey, let alone Shaun McNamara.”
His first serious venture into puppet theater came in 2010 with an ambitious production of “Hamlet” in California.
“I was trying to be all Jim Henson about it — you know, showcasing the beauty, artistry, complexity, and emotion that actors and directors always talk about,” he recalls. “But then something amazing happened — someone knocked something over during the show, it shattered, and I just naturally commented on it. Completely broke the fourth wall, threw the script out the window, and the audience was howling with laughter. That was our lightning-in-a-bottle moment.”
After launching All Puppet Players in California, McNamara and his wife returned to Arizona — a homecoming that initially felt like defeat.
“I’d left Arizona with dreams of making it big in California, and I truly believed I could do it,” McNamara recalls. “In this egotistical profession of acting, no one really talks about what happens when you can’t make your dream come true.”
Building an audience proved challenging in both states. In California, he could only secure 11 p.m. slots, waiting for main-stage shows to clear out before hauling in his box of puppets. The move to Arizona brought similar struggles, with early performances drawing just 10–15 people per night.
But through those lean years, McNamara gained unexpected wisdom.
“I learned that dreams are malleable,” he explains. “They’re clay, not stone.”
Unlike most theater companies, All Puppet Players operates as a for-profit venture — a deliberate choice that reflects McNamara’s philosophy about sustainable art.
“I believe art should survive on its own merits,” he explains. “And I use the term ‘art’ very loosely here. I believe you should make money from your art to fund making more art.”
This business model proved crucial when developing their signature holiday show. While other theaters relied on traditional fare such as “A Christmas Carol,” McNamara sought something different. An initial attempt at family-friendly entertainment — “Santa Claus Conquers the Martians” — bombed spectacularly.
“Truth is, I hate doing children’s theater,” McNamara confesses. “I don’t want to talk down to kids. Like Jim Henson, I believe puppets can transcend children’s entertainment.”
While “Santa Claus Conquers the Martians” was failing, inspiration struck.
“Everyone was having that annual debate about whether ‘Die Hard’ is a Christmas movie,” McNamara recalls. “I thought, ‘This is it — if we can’t make this work, we don’t deserve to stay open.’ I knew it needed to be a musical, with twisted Christmas carols, and strictly adults-only. Something where parents could say, ‘Kids, you’re staying home — this one’s for us.’”
The gamble paid off spectacularly. Since its 2017 debut, “Die Hard: A Christmas Story” has transformed from experimental puppet theater to essential Phoenix holiday tradition. The 90-minute show features twisted Christmas carols, explosive action sequences and enough adult humor to make Kermit blush. Audiences might witness John McClane puppets scaling Nakatomi Plaza while singing warped versions of holiday classics, or Hans Gruber delivering sardonic commentary on Phoenix current events.
“We’ve cleverly woven together elements from all the classic holiday films,” McNamara notes. “You might catch references to ‘It’s a Wonderful Life’ or see parallels between John McClane’s journey and Scrooge’s in ‘A Christmas Carol.’ We’ve managed to work in practically every Christmas character you can imagine, though we’ve definitely put our own irreverent spin on these beloved traditions.”
The show’s success has enabled All Puppet Players to become one of the highest-paying non-Equity theaters in Arizona, sharing profits with their performers and securing a long-term home at Playhouse on the Park.
“2017 was when it hit me: This is really going to work,” McNamara reflects. “Having ‘Die Hard’ as our anchor show gives me breathing room to develop new material.”
That creative freedom has led to an expanding repertoire of adult-oriented puppet productions. Following this year’s holiday run, the company will launch “Atomic Ants” in March, a black-and-white sci-fi tribute featuring a massive 10-foot-tall ant puppet. Summer 2024 brings the return of audience favorite “Puppet Predator,” complete with a new Arnold Schwarzenegger puppet.
This year’s “Die Hard” production features three new puppets and completely rebuilt sets — a necessity after what McNamara calls “the great storage unit rat incident.” But the show’s spirit remains unchanged: creating an adults-only space where holiday celebration meets irreverent entertainment.
“Adults want to celebrate holidays too,” McNamara insists. “What we’ve created here is like getting that perfect wild-card gift from your crazy uncle — you have no idea what’s inside the box, but you can’t wait to open it. And the best part? No kids around to interrupt the moment.”
The production has become more than just a show; it’s a community gathering spot where audience members don ugly Christmas sweaters, share drinks with friends and become part of the performance. The 199-seat theater transforms into what McNamara describes as an “escape room, your sanctuary away from family obligations where you can reconnect with that childlike sense of wonder and fun.”
That interactive element keeps audiences coming back year after year. Each performance creates what McNamara calls an “electric atmosphere” — no two shows are exactly alike, thanks to extensive improvisation and audience participation. The puppets frequently break character to comment on audience reactions or current events, creating a uniquely Phoenix-centric experience.
“Right now, we have a loyal base of 4,000 to 6,000 people who love and support us, and that’s enough,” McNamara reflects. “I wish I’d known earlier that you don’t need millions of fans — you just need enough people who appreciate what you’re doing. It’s like friendship — you don’t need 30 friends, you just need three good ones.”
Looking back at his journey from shy fifth grader to puppet impresario, McNamara sees the perfect holiday metaphor.
“While we may not be mystified about how the presents got under the tree anymore, the joy of opening them hasn’t diminished at all,” he says. “There’s something truly magical about seeing a theater full of adults getting ready to watch puppets perform ‘Die Hard.’ It’s like if the Muppets grew up, had some rough years, but came out OK in their 40s. That’s our shows in a nutshell — probably not the best sales pitch, but it works!”
‘Die Hard: A Christmas Story’
Through Dec. 29 // Wednesday-Saturday 7:30 p.m., Sunday matinees 5:30 p.m. // Playhouse on the Park at Central Arts Plaza // 1850 N. Central Ave., Phoenix // $46+ // 602-254-2151 // allpuppetplayers.com
Comments by Admin