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You may have caught today's interviewee as a commentator on one of my favoritest shows, Best Week Ever. Then again, you may know her for her runaway hit humor book I Hate Other People's Kids. In the meantime, she's a stage fixture in New York, delighting audiences with her monologues and improv. Plus you might just catch her on a rerun of "Law and Order" on TNT, which pretty much makes her a superstar to me.

The Adrianne Frost Interview: Just Under Twenty Questions

How does it work at Best Week Ever? Do you have to bring in your own material on the week’s events? Or do they prompt you and take your best joke?
On Best Week Ever, the comedians are given the topics and asked to write jokes based on questions the writers provide for them.

You’ve appeared on “Law & Order” which I happen to be more into than the average grandma. Do you have any hot goss on Sam Waterston?
Sam Waterston is so sexy, he makes your toes curl just by stammering at you.

What’s been making you laugh lately on TV or the bigscreen or on stage?
“Extras” is the funniest show on television right now.  I just saw The Little Dog Laughed on B’way and Julie White was brilliant.

Do you have any idols when it comes to funny women?
Madeline Kahn, Gilda Radner, Catherine O’Hara, Andrea Martin are a few

When you do standup, what are your methods for dealing with hecklers?  Other than calling then ‘niggers’?
Well, that’s my first choice… but usually it’s men, so I talk about what kind of dates they must be; I assume they’re date rapers.

Are there many female hecklers? Wha’ts the difference between their heckling and male heckling?
Not a lot of female hecklers.  Women have more respect.  They understand that it’s hard out there for a pimp.

Do you get many people who’ve read your book who use it to make an personal attack upon your childlessness? How do you address them?
Hell, yes.  I had one woman call into a radio show and say, “I hope when you have children that they’re ugly and have special needs”.  Wow!  I said, “That’s real Christian of you, ma’am”.  I mean, my book is a humor book, not a manifesto, for fuck’s sake.  It’s not Mein Kiddy.  Get a life, get a sense of humor.  If you don’t like it, fine.  I don’t care.  It’s not meant to hurt anyone.  Take the nails out of your hands and stop beating me over the head with your fucking cross.  IT’S A HUMOR BOOK.  That’s why it’s listed in Humor and not Philosophy.

On the flip side, have you met many fans of yours who’ve put you off with their violent anti-child stance?
Sure.  Some people want to ban kids from, like, EVERYWHERE!  They have no problem beating kids to death.  “Hey, I loved your book”, they say.  I’m like, “Thanks, man, appreciate it”, and they’ll go, “Fucking kids should just be put in camps”, and while they’re planning a new Auschwitz for the toddler set I’m thinking, “You mean, like the Jews?  You want to put innocent kids in camps like the Jews?  Jesus Christ!  Just because some infant cried in the ’10 Items or Less’ aisle?  Wow.  I’d better clear out my attic, ‘cause some guests are comin’.”  There are extremes to every side.

Did you hear from real-life friends with kids after the book came out who were either pissed at you or worried, like “I’m sorry if little Johnny made you write this book!”
I had some good friends who were afraid to tell me that they didn’t think the book was funny.  They “love kids” and didn’t see the humor and thought the book was harsh.  No biggie.  I just don’t speak to those assholes anymore.

Was the book a difficult sell to an agent/publisher?
Oh, hell no.

If you were to start a message board for yourself on your IMDB site, what would the topic be?
She’s Groovy

What’s the hardest part about doing monologues?
Bailing yourself out when you fuck up.

Have you ever blanked on your lines onstage during one of them? What did you do?
My monologues are improvised, so, no never blanked on lines.  But I’ve blanked on where to go next.  So I just breathe, find an emotion and go with it.

What do you think is the difference between improv that’s fun for audiences to watch vs. improv that’s, um, not?
It’s fun for audiences to watch improvisers who are working to create scenes and environments and fun and art for an audience and not solely for themselves.  Sure, the improvisers need to “find the game” and “stay in it”, but know that there are people out there who are wanting to be entertained, man.  THEY are the reason you’re where you are.   Good improvisers find the fun and the game and the magic and freedom on the stage.  Bad improvisers just play with themselves; it’s like watching a monkey jack itself off for 30 minutes and then it spooges in your eye.

I’ve always wondered, when a performer puts dialects they can do on her resume, does that mean she’s pretty well trained in that accent or she’s been told it’s pretty good by her friends?
It’s supposed to mean she’s trained in that dialect through a class, which I did, smart ass.  It does not mean she listened to some CD’s or has seen “Monty Python and The Holy Grail” 100 times, which I also did, smart ass.

It also says on your resume that you’re a ‘remarkable mimic’—is this something you practice or it’s pretty spur of the moment?
It’s spur of the moment.  I’m good about finding where people’s voices come from via placement in the mouth.  It’s also about the flavor of the speech pattern and inflection.  It’s not automatic.  It can take a few tries.  More than a few.  But it is, as I said, remarkable…… feel the magic…..

How does it feel to be the 174th  person interviewed for Zulkey.com?
Tiring and exhilarating; also like I’ve been spooged on by a monkey.  Thanks, though!

More interviews here!