It's really great to do one piece, "I've Grown Accustomed To Your Face," my dad developed in 1956, when he was 20 years old, and it's great to do that piece again now and see that it still really works as well as it ever did.

Oh, well, I can't tell you; it would be telling you the end. It's a one-character lip-syncing because in the early days, that's what my dad was doing.

I try to emulate his approach of really get the most out of people by allowing them to experiment and certainly allowing people to make mistakes.

And it should be something that only that group of people could've made with everybody invested.

Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."

So that's the challenge, you have a big technical aspect of what you're doing whilst you're creatively trying to improvise.

It's actually good when the performers are nervous, because it kind of sharpens up your brain and a little bit of adrenaline is good. Initially it's really tough.