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Any advertiser will tell you that sex sells. But it doesn't have to be the verb, the noun will do quite nicely. "It's interesting being a woman in this profession, because it's not that common to see it, even nowadays with all those hundreds of jugglers," Nina said. "I think that is definitely an element in our show that is attractive, and that keeps people coming back to see us."

As a result, the pair can spend ten minutes of the show - an eternity for today's MTV crowd - bickering about Jacob's new hat, and it works, with nothing more technical than passing three (not six, three) clubs.

Don't get the impression that they lack skill. In their grand finale you see them each catch three passes in a row behind their backs, pirouetting between throws. As if to prove it wasn't an accident, they do it again... and again.

Modestly, Nina protests "We don't do any spectacular juggling tricks. I mean, I think Jacob's four ball routine is great, and I've never seen anyone do the spins with the clubs that we do. But it doesn't really matter that much... "

Jacob explained, "We're talking, making jokes, and a lot of the vocal stuff can change depending on where we're doing it, or topically, or whatever. It's set up so that we can improvise if we want to."

This improvisational outlet allows them to tailor their show to many different audiences. Like many acts, they moved gradually from the streets to fairs and showcases. The most positive venue they played, however, was a truly traveling show: "Cruise ships are responsible for many of the things we do now," Jacob states. "They're great, like Vegas. It's a good training ground because you're surrounded by your public, and it teaches you to like and be nice to your audience."

Gradually, the adaptive skills gained on the ships gave them the flexibility to market their act to more non-traditional markets, such as trade fairs. "It's a huge market, that pays really well. They look for people like us who have the training and wherewithal to know how to speak to an audience, how to memorize lines, how to present a product in an entertaining way, and inject some comedy."

Jacob pauses, as if forgetting something. "Oh, and occasionally in the process, do some juggling."

Trade fairs? Cruise ships? Artistic purists may sneer at commercialism, but it pays well. And money, after all, is a tool as much as any club or devil stick, whose artistic value depends entirely on the hand that wields it. "The step to becoming a full time professional is not an easy one," said Joseph. "If you've got a regular job, you've got to step away from it, you've got to say 'I'm not going to have a lot of money' There are times when you make a lot of money and times when you don't make any money."

The duo has also had bookings on America's Funniest People, CBS Good Morning, and National Geographic Explorer. The audiences and venues keep getting bigger, like opening for Harry Blackstone Jr. this past summer. Their act is so adaptable that they were hired to emcee first the National and then International Association of Broadcasters General Meeting, when the whole family was flown to Amsterdam.

Having made their marital juggling act profitable, Cheney and Mills began to chase dreams, heading back to their roots in Commedia del'Arte and mime. They put together "Mask-capades," an effort to focus more on the cultural depths of theater and performance. Sure, there was mime - but you'll find no walking against the wind here. As a matter of fact, they removed the most accessible expressive tool of mime - the face. Yet the masks they use, from places like Switzerland and Thailand, captivate audiences using no more special effects than a roll of toilet paper. We're talking a difficult audience, too: schools.

All performers know it's easy to get kids riled up. Simply use what Jacob calls the "want-me-to-throw-it-higher?" trick. He and Nina want to leave them more than entertained, though. The most amazing part of both the Mask and Juggling shows is that before, during, and after there is essentially no "fourth wall." They aren't performers as much as interactors, teaching balancing tricks to the kids as they are seated, featherdusting the staff ("Heaven help the teacher who tries to grade papers during the Cleaning Lady sketch," Nina growls) and taking time to answer questions afterwards. Nina continues, "There are so many message shows these days... antidrug, safe-sex, whatever.