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 was 17, certainly by the time I was 19, I knew that show business was where I was going to end up, and I had my sights on being a director.

I'd say that that is a challenge, but it also is, again, it's helpful. It's helpful to have the discipline of, okay, I'm doing, I'm doing something that's quite precise over here, working the puppet, and I'm doing something that's very imprecise and creative and unleashed over here, which is the comedy side. And it's kind of nice to allow your brain to be doing those two things at once.

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.

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.

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

I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.