Playwright and performer Libby Rodliffe talks upcoming comedy show ‘Jobsworth’: “It’s very easy to make something droll when it’s unequivocally ridiculous to begin with”

Following an abridged iteration at last year’s Edinburgh Fringe, the show gears up for its first full-length run at London’s Park Theatre — bringing back the chaos, insanity, and subsequent laughter of dealing with today’s daunting job market. Guillermo Nazara chats with the artist to learn more about the creation of the piece and how its employment of real-life experiences will fire viewers’ imaginations while triggering a few memories.

A young millennial going through multiple low-paid jobs as she desperately tries to solve her financial struggles. Are we still in for a fun, uplifting show?

Absolutely! This show is a comedy with an undeniable underbelly (debt, cost of living crisis, mental health) but it’s also a gag-a-minute, raucous, and fast-paced show about the rise of the underdog in the workplace. If you want triumph and walking-through-the-flames-of-glory vibes, this is for you.

The show takes inspiration from your own personal experiences, which basically anyone from the same or a younger generation can relate to. Is the piece meant to be taken as some sort of call for action?

I’ve had a few people approach me after the show to say they want to go home and sort out their finances and that has felt like such a win. It wasn’t written as a call for action in that sense, but I think mostly people write about what they know, or what they’re passionate about — and this show is both of those things for me. If this play encourages one person to start learning how to control their finances and work smarter for their money, amazing. 

I think it’s worth saying too, that Isley and I did originally think the audience for this play would be mostly younger people, but there was an increasingly older audience demographic by the end of the Fringe run. Boomers and beyond! I really don’t think this play speaks to only one generation — we’re all just trying to earn a living, and I think we’re all feeling the pressure. Fundamentally though, Isley and I wanted to make people laugh. It’s often the best way to bring people together. 

How do you think we’ve come to this situation, where highly qualified workers are constantly underpaid and can’t even cover their basic needs?

I’m no economist but things have felt a bit  f****d, haven’t they There’s been a recession, Brexit, a global pandemic, all whilst having a government who seemed to do nothing but cut funding where we needed it most. And who am I to say, but I’m not sure the tax brackets are working that well? 

Is it fair to call millennials the lost generation?

I think it’s easy to see why this phrase was re-coined for millennials, and I’m sure the above has some part to play in that. Everyone seems to be hustling, and it feels more commonplace to have a side job/jobs than to only have the one income, yet somehow home ownership is still a pipedream for most. Wages are pretty stagnant, the state pension age is likely to be 100 by the time we’re due to cash it in, the cost of our avocado toast is rocketing — it’s certainly a struggle.

However, I would also argue that we’ve seen positive changes too — gone are the days of people working the same job in the same company for 50 years and then retiring. There does seem to be a shift in people making the system work for them, and far more people chasing their dreams and starting their own businesses. 

What has the process of developing the show been like? 

The idea for this show started with weekly voice notes I used to send to my brilliant friend and co-writer, Isley Lynn, about that week’s temping travesties. The stories became so frequent, and were often so ridiculous, that Isley suggested we write a play. The writing process was just as organic as our conversations beforehand — we would sit in Isley’s attic, talk about rough story-points and plot lines, and then Isley would press record on their phone and I would improvise for hours around what we’d discussed. Isley then had the task of typing it all up, and from there we’d edit into a script. I trained with improv school, The Second City, after I graduated from drama school, and I can’t think of a better way to create a show than to improvise alongside the writing process. It was so much fun. 

How did you manage to turn your own personal drama into a droll comedy?

To be honest, it’s very easy to make something droll when it’s unequivocally ridiculous to begin with. One boss used to ride his electric scooter into the marble reception area, leave his takeaway sushi littered around the place, shout into his phone on calls (which were always on loudspeaker), and then tell me I had a problem ‘keeping my desk area tidy’, by which he referred directly to the laptop charging cable running from the computer down to the plug socket below — it doesn’t come more droll than that.

I’ve always loved comedy, and have often relied on laughter as a way to cope with things that probably would have benefited from some alone time, a peppermint tea, and a good night’s sleep. But years of sharing grievances in this way does mean, I think, that I have quite a good gauge of what specific inconveniences and misfortunes people find funny.

Have you found any particular creative challenges?

I think the only point which has felt truly painful in this process was cutting the play down from its full, published glory (around 80 minutes) to the 60-minute Edinburgh Fringe version. That was chronic. I’m so excited to be doing the full version in our London transfer at The Park next month!

What about performing challenges?

This is a really fast-paced show, and playing ten characters who interact in speedy interactions, sometimes three at a time, calls for absolute precision and clarity in terms of characterization. Our wonderful director, Nicky Allpress, has worked hard with me to find the nuances, so that the characters are as three-dimensional and individual as can be. Sometimes, the changes in voice, posture, movement, or pace can feel so minimal but make a world of difference. It’s been a lot of (fun) work to get these characters and their idiosyncrasies fully embodied to the point that the multi-roling feels truthful and solid, and without compromising on pace. I’m very grateful to have such an imaginative, meticulous director on board to keep me on the right path!

Have you taken some artistic revenge on any former employers?

Seeking revenge would have been a doomed starting point! Seeking respite feels more apt. I should say, I’ve met some glorious people through temping, and had some really great bosses and colleagues, and there are a couple of these characters woven into this play! It’s not all about those bosses you’d love to throw yoghurt at. 

If you could meet your pre-Uni younger self, what kind of advice would you give her?

Monetise anything you’re naturally good at. Start now!

11. Why come and see Jobsworth?

If you have ever had a job, you will love it. If you have ever hated your boss, you will love it. If you have ever had money problems, you will love it.

Jobsworth plays at London’s Park Theatre from 19 November to 6 December. Tickets are available on the following link.

By Guillermo Nazara