Punch Review: flashes of brilliance, though far from a knockout
- Jack Davey
- 4 days ago
- 3 min read
18 March 2026 I 19:00 I Nottingham Playhouse (UK Tour)
⭐⭐⭐ I PR - Invite
In 2011, Nottingham-born Jacob Dunne was sentenced to a young offenders institution for manslaughter, after delivering a fatal one-punch blow to paramedic James Hodgkinson. Debuting at Nottingham Playhouse two years prior, and subsequently transferring to the West End and Broadway, playwright James Graham frames Punch around Dunne's memoir Right From Wrong. Where the story has sparked political discussion in courthouses and the House Of Commons, audiences observe how a single, impulsive action can change the lives of many.
The grounds for Graham's script succeed in its understanding of the justice system, holding Jacob accountable and yet refusing to villainise him solely on one mistake. Over a high-energy Act One staging, we see vignettes of Jacob's childhood, groomed into gang culture and surrounded by violence. Whereas the tonal whiplash of Act Two tackles Jacob's meeting with his victim's parents, coming to terms with forgiveness in a restorative journey.
Jack James Ryan gives an impressive turn as Jacob Dunne, a current and complex role. He carries a dramatic maturity that feels lived and authentic, even when not always likeable as a character. Ryan's sensitivity in later scenes is superbly performed, although earlier conduct must be mindful of too many 'council estate boy' clichés, resulting in a shallow voice that we aren't able to connect with.
Punch is a battle of two halves, Act One unfortunately leaving audiences cold with relentless pacing, and few sustained pieces of dialogue that last longer than thirty seconds. Much of the first half is also underscored by grunge-music sound design (Alexandra Faye Braithwaite) and lighting (Robbie Butler) shone into the auditorium on numerous occasions. The combination of the above form an unsettled and overwhelming opening.
That is until we enter completely different territory in Act Two. Creatively there is much more control, with meatier text less reliant on special effects, allowing raw performance to come to the front. As Jacob meets James' parents, Finty Williams (Joan) and Matthew Flynn (David) deliver a naturalist masterclass, complimenting one another with compassion. Williams' stage honesty is the highlight of this revival, bearing a grounded and compelling counterweight to the remainder of the cast.
Inspired by Nottingham's council estate 'The Meadows', Anna Fleischle's set reflects a "social experiment gone wrong", where a large concrete bridge benefits the physical nature of the show. Almost like a playground, it appears influenced by the intimidation and hierarchies found in children's behaviour ('playground politics'). Shaped in a semi circle, the space can feel claustrophobic by the same token.
Being so heavily focused on Jacob's story, there isn't a lot of room for others to develop. Mediating the restorative justice meeting, Grace Hodgett Young exceeds in her professionalism as Nicola, alongside a series of multi-rolled characters that exude great charisma.
Artistic Director Adam Penford has curated Punch to international praise, and its educatory status on the victims of one-punch is admirable. There are flashes of brilliance, but with Graham's text mostly being told to the audience, rather than being dramatized, the narrative consistency is uneven until a powerful second act. James Hodgkinson fell victim to one-punch fifteen years ago. It still feels raw, and an important conversation to be had today.
UK Tour Information & Tickets: https://punchtheplay.com/uk-tour/
