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.

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.

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.

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.

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.

I guess I learned a couple of good lessons from my dad. One was when you're creating something, what you want when you're working with a team of other artists, is everybody to work with some creative freedom, so that you really get the best out of everybody.

And then while she's lip-syncing, "I've Grown Accustomed To Your Face," to this little head next to her, the head eats the cloth fabric and swallows it and it's sort of this weird, demonic character there, who then tries to eat the singer. But it's a lot of fun. So there's a couple of pieces like that.