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The atmosphere created by a new working-class audience discovering that art can be for "people like me" is fantastic: recreating that magic moment that happened to me, a girl who grew up in a council estate in south London.
More than the applause and laughter, I was hooked by the sheer rush of interpreting a beloved song in front of a live audience, discovering a new side of myself just when I thought my personality was set in stone.
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If the audience discovers the joke, fine.
Let the audience discover the consequences of a comedic notion themselves.
The actors were given walk-ons and small roles, then supporting roles, until the audience "discovered" them.
He's the long-suffering friend, the sane and responsible guy through whose eyes the audience discovers the creepy antisocial pathology of the more famous partner.
"The main thing was to tell the story really simply and let it play out in long beats and have the audience discover the moment".
What would happen if, instead of stepping into the show, the audience discovered that the show had come into the real world and was infecting it?
(The series was a disaster: Wodehousean purists were appalled by the changes, and the TV audience discovered that English humour does not translate too well into Hindi).
It came down to when the audience discovered it, they watched it, and then all of a sudden everybody liked it".
This procedural gimmick -- the police remaining clueless to the end while the audience discovers what happened -- was popular a century ago and is still fun.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com