People like to play with the tuna, sometimes.

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.

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.

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

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.

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'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 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 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.

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.