But the fact that most of the show you can't be prepared for, you have no idea really what's coming is initially very nerve wracking, by now, it's kind of fun.

I'd say that that is a challenge, but it also is, again, it's helpful. It's helpful to have the discipline of, okay, I'm doing, I'm doing something that's quite precise over here, working the puppet, and I'm doing something that's very imprecise and creative and unleashed over here, which is the comedy side. And it's kind of nice to allow your brain to be doing those two things at once.

I was already sort of mixing my science physics enthusiasm with entertainment and directing and puppetry.

The challenge is, well, there's a huge challenge, which is when you're improvising, you're meant to sort of clear your mind completely, just be open and funny, and paying, you know, paying attention.

Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.

We took a show to the Aspen Comedy Festival, called "Puppet Up" at that point, and in Aspen we just did three shows, and in Aspen, there was a producer from the Edinborough Fringe Festival, who said, "Please come to Edinborough."

And again, we're kind of trying to be in that place, that's just so absurd and irreverent and hysterical and it's something that at our company we're kind of, we're so irreverent about everything, we're sort of irreverent about the establishment, we're irreverent about civilization, we're irreverent about philosophy, we're irreverent about religion.