Punch | Nottingham Playhouse

Punch makes a triumphant return to Nottingham Playhouse (where it was first commissioned in 2024, and subsequently enjoyed an off-West End Run, a limited sold-out run on the West End and a short Broadway stint; whilst simultaneously receiving high praise from audiences and critics alike and becoming a multiple award-winning production). Punch, whilst enjoying tremendous success as a theatrical production, goes a step further to acknowledge its true success comes from its ability to spread awareness and inspire thousands of people over the last three years. 

Written by highly acclaimed playwright James Graham and directed by the brilliant Adam Penford, Punch is a based on the book Right From Wrong written by Jacob Dunne, based on his own life; with Dunne serving as creative consultant throughout. Punch relays the life-changing incident of the then 19-year-old when he threw a punch at 28-year-old James Hodgkinson, which sadly led to his death nine days later. The play follows the events leading up to this fateful day in July 2011, and the aftermath which included Jacob's sentencing and his contact with James' grieving parents Joan and David, as they came together to spread awareness about one-punch, a mission that they continue to work towards today. 

Right from the get go, audiences know that they are witnessing something special when the lights go dim as a silence befalls the theatre. This silence is maintained throughout the play's two acts, apart from the occasional sniff or sob, as audiences are drawn into a narrative so emotionally gripping that they can not bear to miss even a moment of the play. Punch, set in Nottingham and dotted with references that the local audiences will be able to recognise and relate to, hits harder here as audiences can be seen stirring as their neighbourhoods are mentioned. 

Punch is a beautiful marriage between Graham's writing and Penford's direction, creating a play that will no doubt go down in history as one of the greatest. Act one follows Jacob through his childhood, as he wrestles with unidentified ADHD and Dyslexia and a community that is hell bent on derailing his life through the local gang culture, the use and disruption of addictive drugs, the thrill of adrenaline from criminal activities and tapping into the raging passion of being young and free. Despite the unconditional love from his single hard-working mother, his father's absence is felt keenly throughout his childhood. Jacob's behaviour spirals as his mother's dependency on alcohol grows, until the moment that shatters the life he was trapped in. Act two focuses on the steps following this as Jacob serves his sentence, confronts himself and his surrounding environment, and takes great strides towards his rehabilitation. James' parents, still grieving, are working on restorative justice to contact Jacob to get answers about the incident and eventually meet him. 

Graham has taken this inspiring story and moulded a play that interrogates every emotion at any given moment, creating a piece that feels so very human and so very vulnerable. The dialogue, along with the accents, could have been lifted right from reality as Graham has his pen on the pulse of the city, and is then challenged as he easily encapsulates all the emotional obstacles of such a heavy subject matter. In particular, the meeting between Jacob and James' parents is one of the best penned scenes to grace a stage. Graham's script is so meticulously crafted, it would not be unheard of if schools or colleges were to dissect this in classes in future years to come. 

Penford's direction, likewise, is masterful, as he wrenches out the subtleties of Graham's script. Penford brings out the best in the cast, allowing for the passion to feel explosive and all-consuming, and also able to rein it in with softer and more emotion-driven moments with a quiet dignity and grace. Penford allows for the script and the performances to breath, letting silences settle in when necessary, keeping the audience just as hooked throughout the play. Penford's direction allows for the play to be unfold whilst also addressing the audience head-on, without ever lapsing into a self-aware performance. Penford creates a real sense of bravado as the show erupts, but it's his ability to read between the lines and allow for audiences to discover the bottled up emotions that really makes Punch such an impactful play. 

Elan Butler portrays Raf, Jacob's best friend, perfectly capturing the unshakeable spirit of a boy who believes himself to be a man. With a cocky attitude and a wild love for the dangerous and deranged antics of the gang, Butler's performance is equally endearing and haunting as he represents the many for whom this is a reality. Butler's talent for comedy is evident, as his performance manages to garner a laugh whenever he speaks as he pokes fun at himself. Butler plays Jacob's younger brother who has been left to bear the burden of his missing dad, convicted brother and struggling mother as a child, and Butler's innocence, ferocity and longing to be accepted makes him an unforgettable character. 

Grace Hodgett Young makes a strong impression in her many roles, especially as Clare, a flirty encounter turn love interest whose zest for life and sensible head makes her shine as a beacon of hope in an otherwise dark world. As Nicola, Young manages to capture the years of experience working in restorative justice with a steadfast and calming presence. It's a role that is deceptively tricky but Young does an exceptional job. 

Laura Tebbutt does an excellent job as Jacob's mum and Wendy, his probation officer; often switching between roles in a quick succession. Aided only with a jumper and a hair tie, Tebbutt does a fantastic job as the weary and shattered mum who is desperately trying to hold onto the sweet little boy she once knew and the angry young man that her son has become. Tebbutt's moments of emotional outbursts as she weeps at Jacob's actions, laced with equal parts of love and concern and disappointment is impressive to watch. It's almost amusing to see her transform into the perky and forever optimistic Wendy only seconds later. 

Matthew Flynn takes on the very distinctive roles of James' grieving Dad David, Jacob's college Professor Derek and Raf's dad. As the latter, the drugged influence and prideful streak is evident. Flynn slightly steals the show as Professor Derek in his short stint, with a physical and verbal comedic element that has the audience in stitches through his blunt honesty and devotion to education. Flynn's turn as David, however, renders him a tremendous actor whose performance feels painfully authentic. Flynn's crumbling and cracked portrayal of David, pieced together only by grief and anger, is stunning as he often resorts to silence to convey his emotions. Although quiet, Flynn brings an undeniable gravitas to the role. 

Finty Williams makes a brief appearance as Jacob's loving nan, as she fusses over him with love and wisdom. Williams takes on the role of James' mum Joan and delivers an outstanding performance. Joan's journey slowly shifts from anger to care as her love floods the play. Williams' performance feels very authentic, to the point where her performance was so arrestingly moving that it was hard to decipher if she were acting or not. Williams' slower dialogue delivery gives every word the respect it deserves, defining her performance with her struggles to speak without crying. Williams' maternal instincts, along with her quiet wisdom and compassionate nature makes all the difference in the world. 

Jack James Ryan steps into the main role of Jacob himself. Ryan breathes life into Jacob, somehow portraying Jacob and every individual member in the audience all at once as his world becomes more and more vivid, drawing audiences in. Ryan's delivery of the hefty, almost monologue storytelling feels natural, further inviting audiences to really connect with the concept and the character. Ryan is put through his paces for this role as he takes audiences through Jacob's entire life as a sweet and innocent young boy to a glowing father. Ryan's performance is magnetic as he takes audiences through the emotional rollercoaster, living the pain of the punch. Ryan transforms into Jacob and does an astounding job at showcasing how his remorse breaks the young boy, and the lengths to which he must mentally push himself to recover. It would be easy to discuss Jacob as a hot-headed teenager, but Ryan's performance allows for Jacob to become so much more, and makes him a layered and complex character, filled with contradictions and potential. 

The already strong duo of Penford and Graham has been elevated by the incredible production and creative team around them, that transforms Punch from a transformative and inspirational story to a hard-hitting and unforgettable show. Anna Fleischle's set has brought the streets of Nottingham to the stage, with a mini replica of an overhead tunnel and bridge. The gravel pavement, along with the rusting metal poles are well detailed, but adapted at a slant to ensure good visibility. The tunnel beneath the bridge is particularly impressive to look at, with an accurate sense of depth and reflection from the sun. Anita Gilbert serves as the show's Voice and Dialect Coach, and the richness of the Nottingham accent is prominent, along with the local slang, especially in the early 2010s. Leanne Pinder's movement is slick as the cast move from ducking beneath cameras on the streets, to partying in clubs with a slick and seamless flow. As the timelines intersect and there are multiple roles to be portrayed, Pinder's movement keeps the fast pace of the piece intact.

Robbie Butler's lighting design for this show is award-winning and deservedly so, as it truly ties the whole show together. From the strobe lighting that adds to the tension, to the immersive feeling as a fire erupts around the theatre space, to the perfectly timed blinding lights followed by an abrupt black out. Butler's lighting is mesmerising and serves the play massively. Butler also goes a step further with stage lighting, creating miniature fireworks within the actual bulbs that are a small but fine detail. 

Alexandra Faye Braithwaite, as composer and sound designer, has likewise managed an impressive technical feat where the soundscape really helps to immerse the audience inside Jacob's world. Braithwaite's composition creates a heart-pounding score that really amplifies the high tension and emotional moments in the show; but is perhaps most impressive with the authenticity to replicate smaller sounds allowing the show to feel grounded. 

Punch is not to be missed, already taking the world by storm. Based on real-life, it becomes more than an inspirational experience, but one that is actively spreading awareness and doing good. Graham and Penford are both at the top of their game, the cast are stellar, and the production as a whole is powerful, moving and truly unforgettable.

Punch plays at Nottingham Playhouse until 04th April 2026 - tickets and more information can be found here.

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Pamela Raith