You may have seen actress and writer Bebe Cave perform at the Fringe in the past alongside her sister Jessie. This year she is presenting he debut solo show, comedy play ‘The Screen Test’.

It’s a coming-of-age tale about Betsy Bitterly, an aspiring actress in golden-age Hollywood who undertakes a series of ‘screen tests’ for film roles that could change her life.

I wanted to find out more about the play and the process Bebe went through to create it. So I sent some questions in her general direction.

CC: What is the premise for ‘The Screen Test’? What story does it tell?
BC: ‘The Screen Test’ is about an aspiring actress in the golden age of Hollywood. This story explores the ways that wanting something, or wanting to ‘be’ something, can result in hilariously tragic consequences.

CC: What themes are you exploring?
BC: It’s a dark comedy about acting, dreams, delusion and desperation.

CC: What motivated you to write a play exploring these themes?
BC: I’ve always been very inspired by the screwball heroines of the 1930s and 1940s, especially the fast paced farcical writing.

I wanted to challenge myself to imbue that essence into a character for a solo performance. Just as an experiment! Once I started to feel comfortable with that voice and persona, the story for a show seemed obvious: an actress in old Hollywood.

The idea of performing that character and story was so exciting for me, and I’ve always wanted to try to do my own show at the Fringe, and suddenly it all came together and I found myself applying for venues.

Terribly exciting and scary, but I suppose that when something feels right you have to follow your instincts.

CC: What process did you go through in writing and developing the piece?
BC: I watched a lot of old films, and I realised that comedy can be the most effective way to get an audience to sit up and engage with a piece of writing. Therefore I knew that the darker I wanted the show to be, the funnier it had to be.

The development process was thrilling – I had no idea what I was doing at any real point in the process, just a vague sense of what I wanted it to feel like, so I just tried to follow my instincts and write down every idea and bit of inspiration that came along.

After a little while, those ideas became pages of research and great jumping off places for scenes. Then a little while after that, structure slowly started to appear and then I booked some previews – scary! – and worked it out as I went along.

CC: One question you’re posing in the play is “what does ‘making it’ really mean?” – do you think the definition of ‘making it’ today is different to the golden age of Hollywood that your character is operating in?
BC: No! I think that it is a timeless concept. I think people want to be seen, praised and cherished. That’s a very human impulse that we all have in common. Actors are just especially hungry for it!

CC: You’ve performed at the Fringe in the past with Jessie – how does performing a solo show at the Festival compare?
BC: It’s very different performing solo. Especially when you’re waiting behind the curtain for people to come in and the show to start.

When I perform with Jessie we look at each other for reassurance, tell each other to just have fun, and do a sort of motivating little dance jig before going on the stage. Now I have to say those things to myself and dance on my own which is less fun.

Jessie has always been such a huge part of my work and a major inspiration. This show has been one of the first times I have written and performed comedy without her. It’s terrifying. But the fear, and the process of performing despite it, has made me grow immeasurably as a performer and a person.

CC: How does acting in your own solo show like this compare to the acting work you’ve done in film and TV?
BC: It’s thrilling to perform words you’ve written yourself and there’s an element of freedom that I cherish – I can change the lines whenever I want as I am in fact the writer!

However, there’s much more pressure on me, as I can’t just hide behind the character if things don’t go to plan or a bit doesn’t work – it all rests on my shoulders. I love it.

CC: Let’s quickly take a step back – talk me through your career to date as a writer and actor.
BC: I started acting when I was quite young and have worked in TV, film and theatre. As I’ve gotten older, I started writing comedy with my sister and now I’m here at the Fringe with my first solo comedy play.

CC: What have you got planned for the play after the Festival?
BC: I would love to take ‘The Screen Test’ beyond the Fringe and perform it again in London and hopefully other places too!

CC: Finally, what will you be doing in Edinburgh this month when not performing? Are there any other shows you’re eager to see?
BC: Eating lots of sausage rolls I expect. Bella Hull, Sarah Roberts, Jessie Cave, Alfie Brown and Horatio Gould all have amazing shows up here, so go see them!

‘The Screen Test’ was performed at Pleasance Courtyard at Edinburgh Festival 2024.

LINKS: instagram.com/bebecave

Photo: Ori Jones