We're also irreverent, we have an irreverent attitude towards puppets, as well. So a lot of what we do is we're kind of making fun of the puppets for being puppets, even while we're doing it. And again, that all feeds into the absurdity of this show.

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.

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

A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.

In many ways, I think it's easier in some ways, or it's more entertaining or more guaranteed to be entertaining than traditional improvising. Again, because you're not just you in your body.

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.

In the show, we have recreated two sketches that my dad had, or pieces that my dad had developed. One that he had developed with my mother, one that Frank Oz had developed with my dad. And these are old pieces from the '50's and '60's, and we're going to develop more, too.