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 curriculum-wise, I was drawn to the sciences and specifically to physics, and I really enjoyed it and I think for a little while there, I was really thinking my schooling would be in physics, that that was something I loved.
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.
So while you’re trying to improvise, you’re also trying to puppeteer, you’re doing everything that you need to do to perform a puppet in our style, for a camera.
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.
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.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
To anyone who’s trying to be an artist, in any medium, it’s a very odd and lonely and nerve-wracking and scary process when you let anybody see what you’re working on.
And that was always my father’s favorite part about shooting as well. Often my dad would shoot very, very late, he was quite a workaholic, they would do 20, 20-hour shoots and stuff like that.
We wanted to premiere it in New York, because New York is sort of the home of the Jim Henson Company and it’s sort of the tone and flavor, always, of the puppet work that we’ve done traditionally. And that’s what brought us here and now we’re here.
I think in a creative effort, in any creative effort, you need to, people need to be able to be taking risks and if it turns out to be a mistake, if it turns out not to have been the right choice, that should be applauded, you know, by everybody, and it will come up with another plan.
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.
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