Punch at the intimate Apollo Theatre in London’s West End is a play by James Graham, one of our greatest modern playwrights. Graham’s stellar career for work in both theatre and television goes before him. His reputation for wrapping real-life issues, politically relevant and complex, inside compelling and entertaining wrappers of characters and story is second to none.
The story in Punch is a true one. One of mortality, misfortune and redemption. The events described happened in Nottinghamshire, where James Graham grew up. He worked closely with those involved in life to make this important work. It first played where it is set, in Nottinghamshire, now in the West End, shortly going to Broadway.
Direction is by Adam Penford, the Artistic Director of Nottingham Playhouse, who brought the subject matter to the attention of James Graham, rightly spotting it was perfect for a theatre production.
Punch focuses on the causes and consequences of the unintended killing of James Hodgkinson. James was a 28-year-old trainee paramedic, out one evening with his brother and father after watching cricket, when he died from a single punch to the head. This had been delivered thoughtlessly without an intention to kill by a 19-year-old, Jacob Dunne, who ran to join his friends in a minor fracas over some sunglasses. James did not die from the administered punch, but from hitting his head when he fell.
This play tells us that in the last ten years, sixty people have died from one punch.
Toxic influences on youthful masculinity generally, and the lack of support for failing boys, are described. Also explored are the purposes of prison as punishment and available pathways to rehabilitation. Victims’ frustration with the justice system is well described.
Jacob, the teenager who punched, had left school at 14 years old. He had multiple issues, including being ADHD and being on the spectrum for autism, with a difficult home background. When first released from prison after being convicted for manslaughter, he had no hope. But his is a story of success, not failure. A testament to the characters of Jacob and James’s parents. Supported by a working system of social work and probation services, support for mature education (gaining a First degree in Criminology), and, in particular, restorative justice. This enabled victims of crime and their assailants to meet, if suitable, to account for what they had done, to communicate the suffering caused, and to achieve some closure. Enabling here Jacob and James’ parents to meet, after some years had passed.
The dramatic fulcrum of Punch is not the punch that killed but the meeting between Jacob and James’s parents, Joan and David. Taking place on standard, stackable chairs, supported by those experienced in the restorative justice field, and a plate of biscuits. It is here that the extraordinary happens. That Jacob, in taking accountability for the unintended consequences of a foolish, thoughtless act, decides to make something of his life. And he does. With the support of the remarkable Joan and David. Who may be best described as everyday heroes, of quiet suffering nobility. How the connection has progressed that started in this meeting and the good that has been achieved is astonishing.
The first act starts quite slowly, with Jacob emerging as a not a very appealing character. That’s intentional. However, movement on stage is energetic and engaging. Choreographed by Leanne Pinder, it leavens this production from the start.
The second act is when Punch becomes marvellous. The scene where Jacob, Joan, and David meet for the first time cannot fail to move. The vulnerability, emotions, and forbearance of each character are remarkably communicated by fine acting and writing. David Shields is marvellous throughout as Jacob. Taking him through a transformation from a callow, troubled youth to a sensitive person to be respected. Julie Hesmondhalgh also portrays brilliantly James’ stalwart, suffering mother. One with wisdom running through her. Tony Hirst as David, James’ father, poignantly presents a very different sort of male to the boy Jacob was at the start, being all vulnerability, emotion and love, too much for him to bear at times. One can imagine how his son benefited from his qualities and those of his mother when alive.
Each of the five actors on stage, except for David Shields, plays several different roles. Occasionally, this swopping about gets confusing, but it does bring pace and maintains attention. Shalisha James-Davis is very effective in distinguishing her multiple characters. All the acting in this small company is fine.
The set by Anna Fleischle is tight, depicting a bleak underpass, with two staircases rising from a contained stage space. This works well to give a sense of confined social circumstances and also creates a sense of intimacy as characters connect and meet. The small Apollo Theatre (841 seats) was deliberately chosen for this reason.
Punch is an important play for all. And a great play for parents and teenagers to go to together.
Review by Marian Kennedy
Jacob, a teenager from Nottingham, spends his Saturday nights seeking thrills with his friends. One fateful evening, an impulsive punch leads to fatal consequences. After serving prison time, Jacob finds himself lost and directionless. Searching for answers, Joan and David – the parents of his victim James – ask to meet, sparking a profound transformation in Jacob’s life. A powerful true story of hope, humanity, and the possibility of change.
CAST
Alec Boaden – Raf / DS Villers / Sam / Understudy Jacob
Julie Hesmondhalgh – Joan / Nan
Tony Hirst – David / Derek / Tony / Raf’s Dad
Shalisha James-Davis – Clare / Teacher / Nicola
Emma Pallant – Jacob’s Mum / Wendy / Sandra
David Shields – Jacob
Rob Alexander-Adams – Understudy David / Derek / Tony / Raf’s Dad
Joshua Glenister – Understudy Raf / DS Villers / Sam
Rebecca Todd – Understudy Joan / Nan / Jacob’s Mum / Wendy / Sandra
Marnie Walkinshaw – Understudy Clare / Teacher / Nicola
CREATIVE
James Graham – Writer
Jacob Dunne – Author of Right From Wrong
Adam Penford – Director
Anna Fleischle – Production Designer
Robbie Butler – Lighting Designer
Alexandra Faye Braithwaite – Sound Designer and Composer
Leanne Pinder – Movement Director
Christopher Worrall CDG – Casting Director
Omar Khan – Associate Director
PUNCH
Apollo Theatre, Shaftesbury Avenue
22 September to 29 November 2025
