If you reviewed your own show, how would you describe it?
I’d say it was very silly and also smart but importantly, silly (complimentary).
Tell me a little more about your show and what audiences can expect?
I teach a sentient Roomba how to be a man. It’s going to be more philosophical than you think it is, but also probably more silly.
Can you talk about some of the creative team involved?
The brilliant Joz Norris is directing and my brain for figuring out the quite intensive tech stuff who also understands how shows work and you can bounce jokes off is Tom Clutterbuck.
Also I listen to a lot of stoicism / business bro / fitness hacking and manosphere podcasts for research. Should I credit them?
Where do you draw inspiration from for your work, both in terms of creation and performance?
I think good comedy shows of the kind I like often work a bit like mystery novels. Ideally there’s a satisfying conclusion that feels like it has done justice to all the material that’s led up to it.
Looking at this production, how would you say it links to previous work personally and thematically?
I always write a bit in point and counterpoint. I feel like I opened questions in A Passion For Passion that I want to answer in Oh Man.
Why is this an important story to tell?
Because the stories we tell about masculinity are pretty fucked up. Whether it’s the lovely guys I know beating themselves up for some perceived guilt by association with bad men or the deeply insecure bros shouting at one another about what real men are, I want to write a hopeful and joyful story about how masculinity can be an excellent thing, done well.
What would you like audiences to take away from seeing you at the Fringe?
Joy and hope and a change of pants (from doing wee because it’s so funny).
Do you tend to take inspiration from events happening in the world around you in terms of your work? Do you think artists have a responsibility to respond to what’s happening?
I think artists can’t help but respond to the world around them.
I don’t think artists should feel like world events that happen to be being served up in their algorithm are a checklist of subjects they ‘need to have a take’ about.
What do you do to relax in August?
Look after my small children.
How do you feel about the current arts landscape in your country and your part in it? Does it excite you and inspire you to keep pushing the boat out?
I love the arts landscape. I’m excited for a return to small human communities curating arts experiences for one another.
Why are arts festivals such as the Fringe so important for international exchange?
Because the first year I was at Fringe, I went to a mixer at what was, then, C Venues. I met a Korean dance group who were doing some interpretative mime performances of Chekhov’s The Cherry Orchard, and a Japanese couple who were doing a modern dance version of Macbeth. I’ve been in love with the whole thing ever since.
What can the wider arts community do to get more people involved in their specific disciplines?
Lure them in with an offer to expand the human experience.
Have you got your eye on any other shows that are part of the programme?
I always like to watch Alison Spittle, Pierre Novellie, Tiff Stevenson, John-Luke Roberts, Joz Norris. I’ll see as much as I can.
How can Edinburgh audiences keep up with you beyond the festival?
I have a Patreon, it mainly functions as a sort of a mailing list you can subscribe for free patreon.com/AliceFraser.
Alice Fraser: Oh Man!, Monkey Barrel Comedy (O’Neill’s, The Tron), until 30 Aug, 8.40pm