Review of ‘Jobsworth’: “Employment comedy stands high on the corporate ladder”

Following last summer’s run at the Edinburgh Fringe, the show travels to the London stage in its first full-length version. Guillermo Nazara shares his views on the show to let us know if its multitasking narrative brims with human resourcefulness or should be dismissed.

She was hard for the money. So hard for the money. And at least one of her bosses is a maniac, maniac on the floor! Sorry — it was rough Soho outing (there was a lot of that, too) last night after attending the opening of Jobsworth. The name leaves no room for imagination. What you see in the title is what you get — a stressed millennial working multiple jobs in a desperate attempt to meet her financial ends. Relatable much?

This is no Devil Wears Prada. It still features toxic bosses in many forms, attitudes, and levels of incompetence. Yet, the reason for Beatrix’s commitment to perpetual suffering stems from her own decision, caused, however, by an unexpected twist of events concerning her closest family.

As a result, she works as an Executive PA for the CEO of a law firm. And as she pretends to do that job from home, she moonlights as the concierge for a luxury apartment complex. She also dogsits for one of her friends at her extraordinary Hampstead house, while the owner spends a long “deserved” vacation in Peru, throwing her grandad’s inheritance around. It’s a dream life, proudly sponsored by Freddy Krueger.

Don’t worry, though. The criticism of the corporate world is there anyway. So is the disdain towards the abusive nature of the labour (trigger word) market. They permeate throughout the whole narrative, as co-writer and performer Libby Rodliffe competently brings together an engaging recount full of sass, action, grip — and surprisingly, pathos, too.

The situations the protagonist goes through are so boisterously absurd that you can’t help but laugh at her plight. Yet, the script is smart enough to counterbalance it with a few emotional elements at the exact right moments. It doesn’t tug at the heartstrings. Instead, it flows in the most organic way, and even fools us a couple of times into thinking the opposite — only to reveal, immediately, how well crafted the entire account is.

The text brims with sharpness, often elevated by Rodliffe’s excellent comedic timing and inviting energy. We could demand some additional wit in several excerpts, but the piece preserves its compelling quality scene after scene and refuses to let go of it. Consequently, our investment in the character’s journey is almost immediate. We are hooked about what happens next, and how the many sides of her increasingly ignominious existence will unravel. Everything is well-paced and polished, with the exception of its slightly murky and convoluted opening. And every segment of it holds significance and appeal.

Rodliffe’s performance is electrifying for the most part, perhaps too much on some occasions. Her passion for the piece is palpable through the intensity of her rendition, which can sometimes be overwhelming — especially for her endless character roster. And so, when the show starts, those different personas aren’t fully there, only materializing through swift changes from an English to an Irish to a West London cocaine user’s accent. Yet, it’s just a matter of time until her interpretation settles and her real register comes on display. And once it does, it’s fairly brilliant.

Matthew Cassar’s design also contributes to the show’s seamlessness. Its plain simplicity supports and underpins the plot’s dynamic spirit. A desk and chair comprise the entire set, which is ornamented by paper lanterns hanging above. Oliver McNally’s lighting helps secure the effect. A bland incandescent hue turns the place into an office. Switch the lanterns into a melange of green and blue, and we’re instantly dragged into the countryside. Transition to a flickering sanguine red, and the protagonist’s grief couldn’t hit harder.

Funny, intelligent, resonant, and meaningful, Jobsworth makes a successful application at Park Theatre, standing as a shining highlight in the venue’s resume. Regardless of your location, salary, or expectations, this is a commute you shouldn’t miss. And if, by the end, you believe that isn’t what you signed for, well, welcome to the working world!

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All pictures credit to Harry Elletson.

Jobsworth plays at London’s Park Theatre until 6 December. Tickets are available on the following link.

By Guillermo Nazara