So much of the show [ Too Much Tuna] is improvisation, and I think that Nick [Kroll] and John [Mulaney] kind of catch each other at times, surprise each other. I think that really makes it a fun, sort of live, unique experience.

When I was thinking about what we could do in terms of what production values of Broadway might be able to add to the show, I had this thought that it would be really cool if we had a coup de théâtre. What would they want? And then I was like, an amazing, enormous tuna puppet that was like 30 by 40 feet would be pretty incredible. So I called up Basil Twist, and he got really excited immediately and started sketching out his idea, and I think it's a real highlight of the show.

I think we live in an era without a predictable career path. Everybodys doing more, doing more at the same time, doing more faster. As such, individual projects can have wildly different developmental trajectories.

I like musicals that look more like plays.

Some people eat the tuna, some people roll it up into a ball. Also, the sort of disgusting texture and smell, I think, adds something to the experience.

The show [ Too Much Tuna] changed a lot, actually, which is risky when you get positive critical feedback.

I'm not sure if the audience can smell tuna but the special guest each show definitely can.