James Graham’s Punch, directed by Adam Penford, now playing at the Apollo Theatre following sold-out runs in Nottingham and at the Young Vic, is a deeply affecting and unflinchingly honest exploration of violence, accountability and the power of restorative justice. Based on Jacob Dunne’s memoir Right From Wrong, the play recounts the true story of a single fatal punch thrown on a night out, and the extraordinary journey that followed.
Jacob, portrayed with remarkable depth by David Shields, is introduced as a young man fuelled by anger and bravado. The first act offers no excuses for his behaviour: he’s a selfish, drug-taking yob who went out looking for trouble. When he punches a stranger, James Hodgkinson, and James dies as a result, the consequences are devastating. Graham’s writing is brutally clear, and Shields ensures the audience feels every ounce of discomfort. By the interval, Jacob is in prison and the audience is left wondering what more there is to say.
But the second act is where Punch truly shines. Graham shifts the narrative to focus on the process of restorative justice, and the transformation that occurs when Jacob meets James’s grieving parents, Joan and David. It’s a remarkable story of empathy and healing, and one that feels almost impossible to believe; until you remember it’s true.
Julie Hesmondhalgh delivers an outstanding performance as Joan, her emotional restraint and clarity drawing the audience into every word. Her scenes with Shields are among the most powerful in the production, and the chemistry between them is palpable. Shields himself is phenomenal, guiding the audience through a complex emotional arc that moves from contempt to compassion. His physicality and vocal precision make Jacob’s journey feel authentic and earned.
The supporting cast, comprising Alec Boaden, Tony Hirst, Shalisha James-Davis and Emma Pallant, take on multiple roles with impressive versatility. However, the rapid transitions between characters, often with little pause, can be distracting. Hirst, for example, moves from James’s father to various figures from Jacob’s estate with minimal separation, which occasionally undermines the emotional clarity of the scenes.
Robbie Butler’s lighting design is a standout element, subtly guiding the audience through shifts in time and tone. Alexandra Faye Braithwaite’s sound design adds a haunting layer to the production, enhancing the emotional weight without overwhelming it.
Punch is a vital piece of theatre, one that should be seen by every young person in the country. It doesn’t preach, but it does provoke, and theatre this urgent has the potential to echo through classrooms and communities for years to come.
