Counter Culture

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Kate Butch doesn’t just do drag — she weaponises wordplay. Her Fringe show titles are gloriously bad puns elevated to high art, and A Kate in the Hand is Worth Two in the Butch might be her most audacious yet. Beneath the camp and chaos, there’s a performer who knows exactly how to turn silliness into sincerity. This year, she’s blurring the line between persona and person, sequins and soul, glamour and  grit — all while reminding us that kindness can be just as radical as comedy.

I’ve always been fascinated by proverbs and idioms, so when I realised I could shoehorn my name into one then I was thrilled! I adore a really clunky title in a Fringe show, where the pun is so garishly bad it loops back round into being genius (Glenn Moore and Joe Lycett are the masters of this genre). My first show was the ridiculously titled Kate If You Wanna Go Butcher, so I think this one is an improvement.

Drag comedy is a space where identity, satire, and joy collide. What’s the collision point in this show?

I think it’s in the parts where the persona slips a little, and you get a glance at the person underneath the sequins. I’ve always tried to keep a firm divide between my on‑ and off‑stage identities, but with this show I’m going to blur that line a little.

You’ve built a persona that’s both glamorous and chaotic. What’s the moment where that duality shines?

‘Glamorous’ is VERY generous, thank you! There’s a moment where the chaos descends somewhat into violence (and that’s all I’m giving away!), but don’t worry — I look proper fit while it happens.

What’s the cultural itch you’re scratching this year?

I’m being more creative with my meal‑deal choices.

Drag is political even when it’s not trying to be. What’s the quiet political thread in this show?

I think the overarching theme is kindness, and remembering to be kind to others and, possibly more importantly, yourself. To stand in your power and not take any shit from anyone, which is still a lesson I’m trying to learn.

Pleasance crowds can be rowdy. What energy do you want them to bring?

I love an audience that’s up for it. Edinburgh can be exhausting, for both performers and audiences, so anyone that can bring some hype to my show will get it returned back to them in spades. My advice to an audience is not to pack in as many shows as humanly possible — you’ll knacker yourself before 5 PM and then each show after that will feel like a slog. Take a break. Get a macaroni pie.

What’s the joke or bit that always gets you laughing, even in rehearsal?

There’s a photo of me that is used in the show which I think is so funny. If anyone asks me how the show is going I just show them that picture, and it somehow depicts EXACTLY how I am feeling at any one moment. I might sell prints of it afterwards.

What’s the costume moment you’re most excited about?

Honestly? The fact that I don’t have to wear the same thing every day. For previous shows I’ve had the ONE show costume, which is usually made of something very much not machine‑washable, and by the end of the run it could probably get up and walk away. Being able to perform the show without having to worry about how much Febreze I have left, or the 4D aromatic experience I’m inflicting on the audience, is very liberating.

If someone walks in expecting pure camp, what deeper thing might they find?

I hope that there’s a very human side to the show, and that despite the very specific‑to‑me stuff I am talking about, there’ll be a thread that anyone can relate to. They’ll also get to see me do some manual labour, so there’s that.

What’s inspiring you right now — drag, music, pop culture, or something stranger?

TikToks of people falling over. Timeless.

Kate Butch: A Kate in the Hand is Worth Two in the Butch 🎭 Pleasance King Dome | Edinburgh Fringe 2026 🕗 8 PM | Buy tickets here