I think we live in an era without a predictable career path. Everybodys doing more, doing more at the same time, doing more faster. As such, individual projects can have wildly different developmental trajectories.

I think it all started with the tuna sandwich, and then, on the road, gearing up for New York, Nick [Kroll] and John [Mulaney] had the idea of having a tuna puppet, which became Tony Tuna, and their friend Cammi Upton designed that and did a great job.

People like to play with the tuna, sometimes.

I worked on it [ Too Much Tuna] for a little bit downtown and it was a great experience. I couldn't believe how enthusiastic the audience was for it. It was just extraordinary. It felt like you were at a rock concert, which was just unusual for shows at Cherry Lane, which are usually intimate plays about big ideas, you know.

I'm not sure if the audience can smell tuna but the special guest each show definitely can.

Some people eat the tuna, some people roll it up into a ball. Also, the sort of disgusting texture and smell, I think, adds something to the experience.

I think the things that I enjoy most about directing theater, or works that are really visceral in terms of comedy and have a sort of rock and roll aesthetic.

So much of the show [ Too Much Tuna] is improvisation, and I think that Nick [Kroll] and John [Mulaney] kind of catch each other at times, surprise each other. I think that really makes it a fun, sort of live, unique experience.

I've worked on other shows where the sense is like, Well, don't change it too much, you know? But on this one [ Too Much Tuna], Nick [Kroll] and John [Mulaney] - beyond being amazing performers - are also writers, and wanted to keep improving upon the show, particularly the play within a play. I think the writing just got funnier and funnier.

I like musicals that look more like plays.

The show [ Too Much Tuna] changed a lot, actually, which is risky when you get positive critical feedback.