Jobsworth – Park Theatre

Cast your mind back a few years and it’s easy to recall how the concept of a ‘zero hours contract’ was presented to the public as a gift to those seeking employment. Workers could choose when to work, without the onerous restrictions of a full or part-time contract. Students, single mothers, people with caring responsibilities and even those struggling with mental health problems would be able to dip in and out of work without compromising their other concerns. That was the spin. Like many aspects of late-stage capitalism, it was sold to the nation as freedom and choice. The reality has proved to be a boon to ruthless employers and tax-dodging global corporations. Even the term ‘gig economy’ feels less like a hipster lifestyle choice and more like a fun-sounding euphemism for workplace exploitation.

If there’s one cell in your body that still believes the self-serving hype around zero hours employment, go watch the brilliant Ken Loach film, Sorry We Missed You. If you can get through that without sobbing, you’re a tougher viewer than myself. Taking a less harrowing view of the current economic climate is a production of Jobsworth at the Park Theatre. Isley Lynn co-wrote Jobsworth with writer/actor Libby Rodliffe. It premiered at Edinburgh’s Courthouse to wide acclaim in 2024. Directed once more by Nicky Allpress, this 90-minute, one-woman show uses comedy, farce, physical theatre and the huge charm of Rodliffe to explore the complex challenges of juggling several jobs, a multitude of bosses and a dwindling capacity for dignity or agency.

Radcliffe plays Bea, who works for Gillian and Julian, a married couple who run Cholmondeley & Karlsson Health & Legal Group. She’s also a receptionist at Fortuna Place Apartments, which are marketed as high-end, though they are falling apart behind the bougie facade. Russian oligarchs demand to view the penthouses, only to complain they are ‘too high up’. Bea’s also caring for an ugly little dog called Parsley and house sitting for its privileged owner, who’s travelling South America. In between all that, Bea has a data inputting job.

This ridiculous schedule is obviously unsustainable, requiring lies, improvisation, manipulation and charm to keep all the plates spinning, even as they collide and crash. Rodliffe has a magnetic stage presence and an innate gift for comedy. She plays a wide range of characters with dizzying skill, and at a breakneck pace. At the beginning of the show, it’s a little overwhelming and hard to keep up, but Rodcliffe’s performance is so assured and winning that early confusion soon morphs into entertained admiration.

The set design by Matthew Cassar is sleek, corporate and simple. It’s effective, because Rodliffe brings so much life to the stage that any other business would be superfluous. Oliver McNally’s lighting, and sound design from Matteo Depares combine to deliver darkness and tension, despite Bea’s upbeat veil over her stress and exhaustion. The paper lanterns above the stage flicker as she falters, and the audio fizzing and crackling suggests failing electrical circuits, even as she cracks jokes and ploughs on with cheery determination.

In the latter half, we are given a flashback to the circumstances which precipitated this job juggling madness, which involves her parents and in particular, her father’s spiralling debts. It gets a little darker and a tad deeper, but ultimately, avoids a hard political punch. Perhaps that’s a wise choice. The Ken Loach approach to this issue was a harrowing experience and a hard sell for a night out. Jobsworth actually lifted my mood and offered cathartic laughter, but a bit more bite might have elevated this further.

Many reviews have highlighted this show as a reflection of Millennial woes, which is a fair assessment. However, as someone who has recently managed three jobs in one day and been the victim of a zero-hours contract, I can confirm that there’s less comedy to be found in surviving this Dickensian work environment when edging towards 60. Surviving the rat race with side-hustles and a clutch of low-pay roles might become the grim future for almost all of us.

Jobsworth is at Park Theatre until 6th December 2025, Home – Park Theatre

Reviewer: Stewart Who?

Reviewed: 22nd November 2025

North West End UK Rating: