Writers: Isley Lynn and Libby Rodliffe
Director: Nicky Allpress
It is a fine line between workshy and workaholic in Isley Lynn and Libby Rodliffe’s entertaining new monologue Jobsworth at Park Theatre, and while others perceive Bea’s flightiness as an entitlement for being paid to do nothing, she is in fact exhausting herself working four jobs simultaneously. A very urban tale of economic responsibility, the spiralling chasm of debt and the soullessness of the workplace, Lynn and Rodliffe’s nicely balanced piece, running for 80 minutes, is an immersive tragicomedy.
Lynn and Rodliffe are excellent at telling what seems like a ludicrous story, providing a big and elaborate narrative scheme, and filling it with recognisable, everyday accents, so within Bea’s multi-compartmentalised working day are the very simple hooks that audiences will recognise from their own workplaces and colleague relationships, adding a knowing level of recognition that adds to the amusement. And as Bea tries to multitask through Zoom calls, endures passive-aggressive discussions with her smug boss and juggles all kinds of menial duties while still trying to pick up her dog on time and return voice notes from her friends, there is enough grounded reality in here for Jobsworth to really register as an exaggerated form of the things we all do Monday to Friday.
The management of the scenario itself is also very enjoyable, jumping between the different work locations and personnel while controlling the tone as Bea goes from slick control over her life told with a comic briskness to an unfolding crisis that brings chaos and darkness as the brittle house of cards she has constructed from necessity comes crashing down. Yet the low hum of discord grows as Lynn and Rodliffe’s play unfolds and the audience learn some of the reasons for Bea’s need to work. The moral message about the economic fragility of the individual and the scarily few options available is well managed, while the intergenerational impact is certainly poignant.
Jobsworth begins to stretch its premise in the final quarter of the show, and some of the broader characterisation doesn’t quite deliver, leaving Bea as the only fully formed creation. There are a lot of others to keep track of – all distinctly drawn with changes of voice in Rodliffe’s performance – but with two very different bosses, an influencer, a dog sitter, Bea’s parents, friends and a potential boyfriend in the mix, there are perhaps too many to keep track of and it is never clear enough what all of these roles add beyond noting the personal sacrifices she makes and why she is unable to ask for help from any of them.
Rodliffe’s performance is excellent; however, full of charisma, managing the investment in Bea’s situation well, and you want her to succeed, particularly as the discussion about how much she delivers shows the wasted time in most jobs. There is also meaningful work in the lighting design (uncredited), conveying tone and location really well. Like Bea, Lynne and Rodliffe take on a little too much in the telling, but with great audience investment, you’ll be desperate for someone to give poor Bea a break.
Runs until 6 December 2025
