(Charles Numrich) I always say that storytelling has three elements.

It has the story, which exists all by itself, and it's the audience which is there, and the teller.

The goal is for the teller to get the story to the audience without getting in the way and to see the eyes of the audience that they understand, and they want to know what happens next.

That is, there's nothing like that for me.

Performing live theater, it's always changing, and you can constantly explore the experience of the character from night to night, and sometimes it's extremely difficult and tedious to do that, but it's also really exciting to know that every night you've got another chance at doing it, and hopefully continuing to explore on a nightly basis, which I find really fun.

I'm Charles Numrich, I'm an actor and a storyteller.

I'm Seth Numrich, I'm his son, and I'm also an actor.

[saxophone plays jazz] (Charles) I started a small nonprofit theater company in 1981, Creative Theater Unlimited, and ran it until 2008.

Since about 2004, I've been working with lots of different theater companies around the Twin Cities, while I was also finishing up projects with my own theater company.

[piano, horns, bass, & drums play in slow tempo] (Seth) Growing up I performed all over the Twin Cities.

Youth Performance Company, the Children's Theater, the Guthrie, Park Square, History Theater, the Ordway, lots of different places, just doing plays.

And that was when I left the Twin Cities then when I was 16 to move to New York to go to school and pursue it as a career.

(Charles) When Seth auditioned for the Julliard School, it was a month after his 16th birthday, so when he was accepted-- he's the youngest person to be accepted and to graduate from the drama program at the Julliard School.

(Seth) Right after I graduated, I was cast in a play Off Broadway.

It was an amazing experience for me to get out into the world and to try to put these tools to use in a professional setting.

And shortly after, I went out of town to do a play in Los Angeles, at the Ahmanson, "History Boys," and then went to Seattle to do a play at the Seattle Rep, and then I went to Scotland to do a play.

So I spent about a year right after that, just out of town working and doing different things, which was really great for me.

"The Merchant of Venice", it was produced by the Public Theater, and yeah, it was my first Broadway experience, and to suddenly be in that environment with some really incredible actors and Al Pacino was kind of our leader and I was constantly amazed at his ability to find new things night after night and just throw himself into different choices and different experiences.

And everyone around him then, we all had to stay on our toes and stay alive to be able to play off of it, and it made for really exciting performances.

[man & woman sing in harmony] (Seth) Moving from "Merchant," I went into rehearsals for "Warhorse," and I like to say I'm the main human in the play, although there are some horses in the play that are portrayed by these life-size puppets, operated by three people.

And Joey the horse is really the star of the play, but I'm sort of his counterpart as the human lead in the play.

And so it was a big role, and I felt very fortunate that they decided that I was capable of making a go of it.

So the play's set in England and specifically in southwest England, a county called Devon.

And the Devon accent is very different than what you might think of as a typical English accent.

And working on dialects and vocal techniques is something that I really, really enjoy personally.

[with accent] Now when we go, we walk, right, slow pace, one foot after the other, slow.

That's a little sense of the accent; it's sort of round and grounded.

[trumpet and strings play softly] (Charles) When I watch him on Broadway, the beauty of being able to realize halfway through the show, oh right, oh, that's my son, because it's not anymore.

He has taken that role, and he has owned it.

[piano plays softly] One of the things about being an artist in any context, and that I think I tried to instill in both of our sons, yeah, be careful, you know, don't necessarily take this as something that is a given, because it's tough, it is a tough existence.

I've been really lucky in the opportunities that I've been able to experience and yeah, I sort of feel like I am living in a dream sometimes when I go to work at Lincoln Center and realize how fortunate I am just to be working, let alone in that environment in this kind of play that I'm doing right now.

It's really great, and I feel very fortunate.