There was a producer from the Aspen Comedy Festival who happened to be there, as a friend of a friend, and she said, "I'd like to book you into the Aspen Comedy Festival," and we said, "Well, there isn't really a show to book in, this is just a little showcase and it's really our workshop." And she said, "No, it's great, I love it, just do exactly what you did."

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

And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.

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

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.

We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor.

And it was a whole lot of fun, and in many ways, what we've done with the show is just taken that part of my early memories of visiting my dad, shooting with the Muppets, and taking that and making a show that's really an expansion of that and presenting a show that's all that.