Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
There’s a certain kind of quality you expect when it comes to plays written by James Graham, reflected in the success, transfers and returns of each one. Recent hit Boys From The Blackstuff is currently touring the UK following an acclaimed run, while his absolute masterpiece Dear England is about to return for a third London season in as many years ahead of a UK tour. Not one to shy away from something new, last year saw the premiere of another new work of his, with Punch enjoying a sell-out season at Nottingham Playhouse. Now it’s time for London audiences to enjoy his latest masterpiece - and it really is absolutely outstanding.
Based on his book Right From Wrong, Punch tells the true story of Jacob Dunne, a teenager from Nottingham whose life is changed on one fateful evening when a single impulsive punch leads to the death of the victim, James Hodgkinson. After serving his time in prison, Jacob’s life takes another surprising turn when James’ parents reach out to him, beginning a profound transformation that carries with it an important message.
Commissioned to write Punch by Nottingham Playhouse, where the show premiered last year, it may not be the most light-hearted of watches, though James Graham does fill Punch with a smattering of humorous lines in a bid to not overwhelm with the emotional nature of the story. As is common with Graham’s genius, he knows exactly when to take his foot off the brake and let those emotional moments play out in their stark and raw severity. Graham has an unrivalled ability to connect with an audience on a profoundly human level, speaking to our very core and penetrating the hearts and souls of everyone there. Punch is the perfect example of this skill and is possibly his best so far – evident when I looked around the theatre at one pivotal scene to witness a sea of sobs from everyone around me.
Humanity is the keyword here. On paper, you may feel sympathy solely for the victim, James, and not for Jacob, the “killer” for lack of a better word. However, life is rarely that black and white, and Graham’s writing does a beautiful job of balancing the situation, weighing it up perfectly and allowing you to feel sympathy for all parties – James, his parents and Jacob himself. In a rich characterisation, there is a real beauty in the honesty when it comes to Jacob, accepting his flaws and actively trying to make a better life for himself. Similarly, Graham’s depictions of James’ parents Joan and David explores the conflicting emotions in authentic, challenging and heartfelt performances. Another testament to the quality of his writing is in how well we get to know the unseen James in a beautiful tribute to the tragic victim, who this production is dedicated to.
One of the key strengths in Punch is in its pacing. Act one begins with a frenetic look into Jacob’s life as he recounts the run-up to that fateful day, giving a raw insight into his seemingly carefree life – however, this prolonged sequence is repeatedly interrupted with scenes from James’ parents Joan and David as they deal with the news of their son and various developments that occur. It’s an inspired narrative structure and one that can prove exhausting and overwhelming at times through how relentless it is.
Act Two offers a wildly different approach as repercussions from that night play out in unexpected ways, resulting in a slower, more intimate narration of events. While the first act is necessary for the set-up, act two is the far stronger of the two, featuring one of the single strongest scenes I have ever witnessed in the theatre - that being the eventual meeting between Jacob, Joan and David. My heart was in my throat during this tense and emotional meeting, meticulously handled with sensitivity. Every nuance and conflicting feeling was exposed in a brutal but compelling scene that encapsulated theatre at its very best and may well be James Graham’s finest moment to date.
Integral to the success of Punch and further lifting James Graham’s exquisite writing is the faultless direction from Adam Penford, unafraid to stray from convention to offer a rich and varied take on the story through creative choices. Earlier this week I watched a show where it felt like the cast had been given no direction whatsoever – the opposite was true here with a cast so clearly in sync with their characters that it is easy to see how precise and detailed the direction has been. Robbie Butler’s lighting design is another striking factor of this production with stunning effects used throughout, transforming the Young Vic stage to resemble police cars, fire and one beautiful moment where houses appear all over – all through the simple yet effective use of lighting.
David Shields leads the cast as Jacob in a demanding performance that would test the limits of any actor. He more than rises to the occasion, delivering a believable and honest approach to Jacob, exploring every aspect of his personality and the tragic circumstances that have haunted him. Charismatic and captivating throughout, the Jacob that ends the show is a complete contrast to the one we meet at the beginning, with Shields expertly delivering this transition throughout. There is a lot of emotion visible in Punch and this is represented with Shields movement, mannerisms, words and the clear emotion visible in his face, bringing Graham’s words and Penford’s direction to life in truly exhilarating ways.
Julie Hesmondhalgh gives a similarly emotional turn as James’ mum, Joan. Having to demonstrate a mothers grief paving way to the unexpected turn which sees her form a relationship with Jacob, she is a marvel as she navigates this inner turmoil and her conflicting feelings, delivering a well-rounded and authentic portrayal. James’ dad David, played by Tony Hirst, is more withdrawn, offering a less is more approach and providing a compelling dynamic with Hesmondhalgh.
Hirst takes on a number of roles in Punch, as do the remaining three cast members with Alec Boaden showcasing versatility as Jacob’s friends Raf, before getting one of the standout scenes as Jacob’s brother Sam. Though relatively underused, Shalisha James-Davis makes a lasting impression as two characters including Jacob’s love, while Emma Pallant offers some huge but differing roles, with her turn as Jacob’s mum the most haunting to witness.
Punch is a real stunner of a show. Packed with intelligence and heart, it perfectly examines the essence of humanity and how circumstance can lead to drastic and irreversible changes in lives. Impact is the word to summarise this and fittingly, Punch lands with a huge impact. Incredibly hard-hitting and powerful, the balanced way these characters and the circumstances are explored is a testament to James Graham’s genius, resulting in one of the finest plays I have seen in a long while. Forgive the pun but this play really does pack a punch, tapping in to audiences emotions to leave a thought-provoking story that will stay with you long after you leave the theatre. Jacob Dunne changed his life and managed to do something not just good but important with it, and that is reflected in this portrayal of his story that will send an equally important message to all that see it. James Graham may have enjoyed some big hits in this time, and this may well be his best yet. Moving and heartfelt, Punch really is as powerful as theatre gets.
Punch plays at the Young Vic until 26th April. Tickets from https://www.youngvic.org/whats-on/punch
Photos by Marc Brenner