Punch at the Young Vic

James Graham – the writer behind such stage successes as Dear England and This House, as well as television’s Sherwood – was commissioned to write Punch by Nottingham Playhouse. After enjoying a successful run in his home city, the production now transfers to London’s Young Vic.

Anna Fleischle’s set consists of a concrete walkway over a dark underpass, which establishes the mood of the play before it’s even started, while perhaps symbolising the journey our protagonist will embark on. He is Jacob Dunne – real-life author of the book Right from Wrong on which Graham has based his play – portrayed here by an electric David Shields.

Growing up in a deprived part of Nottingham, prospects are low, and crime is high. When we first meet him, Jacob’s objectives in life are to sell drugs, get wasted and enjoy a good fight at the end of the night. One of those ends in tragedy when a single blow has fatal results. Jacob serves time in prison only to come out with even less of a sense of purpose. That changes when the parents of his victim unexpectedly contact him. They are willing to talk to Jacob to make sense of and come to terms with what happened. Thus, the process of restorative justice begins.

As well as exploring the grief and guilt at the core of this story, Graham looks at the prison system and young offenders in more general terms, while also examining social deprivation. The education sector and specifically the diagnoses of people with special needs are also touched upon. Crucially, Graham ensures each strand is weaved in organically. Dialogue always feels true to character, and no line is wasted.

It makes for a pacy production, aided by Robbie Butler’s lighting design, which adds to the frenetic feel the play occasionally has while also punctuating key emotional moments. The performers often work as an ensemble with movement direction by Leanne Pinder, injecting further energy in its visuals. Director Adam Penford always allows the poignant scenes the breathing space they require. Most of these take place in the second act, where Graham offers us such honest, raw and real dialogue, which is delivered in the most convincing of ways by the cast. Laughter can be heard from spectators before sniffles soon take over. 

While it’s an at times uncomfortable, frustrating and, of course, emotional experience, one can’t help but marvel at the talent before us. Shields showcases a tremendous amount of range. Julie Hesmondhalgh, as the victim’s mother, so effortlessly morphs from grief-stricken and angry to funny and caring. As much as she is pained by the loss of her son, she does not want Jacob’s life to be wasted as well. Tony Hirst, as her husband, also excels and is again afforded the opportunity to display an impressive range through multi-rolling. Emma Pallant seamlessly switches from Jacob’s mother to probation officer – a person who provides him the guidance he was neglected of as a child.  Alec Boaden and Shalisha James-Davis complete the cast and again bring a great deal to their performances.

Nottingham Playhouse was one of the country’s regional producing theatres to be completely deprived of its local authority funding. When such venues commission and create work of this standard, it makes this fact an even greater travesty. It’s no surprise that everyone in the house is on their feet during the curtain call. Punch well and truly leaves a lasting mark.

Jonathan Marshall
Photos: Marc Brenner

Punch is at the Young Vic from 1^st March until 26^th April 2025. For further information or to book visit the theatre’s website here.

Watch the trailer for Punch at the Young Vic here: