But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.

We wanted to premiere it in New York, because New York is sort of the home of the Jim Henson Company and it's sort of the tone and flavor, always, of the puppet work that we've done traditionally. And that's what brought us here and now we're here.

And with puppets, especially in our company, we sort of demand a very high standard of puppetry, so it's a real technical skill.

The first show that my dad and my mom did together was for, was a comedy series, a short form that went in the middle of late-night news, and then through all of their career, it was always the "Ed Sullivan Show," it was a variety act, my dad was on the "Jimmy Dean Show" for a few years.

But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.

To anyone who's trying to be an artist, in any medium, it's a very odd and lonely and nerve-wracking and scary process when you let anybody see what you're working on. You have to learn to listen to your instincts. Absorb other people's advice, opinions, or whatever it may be from the outside world, but at the end of the day, you have to be true to whatever it is that you're trying to say in that work.

We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.