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.

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.

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.

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

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.

People like to play with the tuna, sometimes.

I worked on it [ Too Much Tuna] for a little bit downtown and it was a great experience. I couldn't believe how enthusiastic the audience was for it. It was just extraordinary. It felt like you were at a rock concert, which was just unusual for shows at Cherry Lane, which are usually intimate plays about big ideas, you know.