Review: PUNCH, Apollo Theatre

Photo credit: Marc Brenner

Following acclaimed runs at Nottingham Playhouse and the Young Vic, James Graham’s new play Punch has now arrived in the West End. Tipped to be the hottest ticket in town, this strictly limited run will play simultaneously in London, with a Broadway opening just around the corner.

Punch tells the powerful true story of Jacob Dunne, inspired by his memoir Right From Wrong. At 19 years old, a single impulsive punch changed his life forever — and ended another. That fatal blow led to the death of James Hodgkinson, a young man he had never met before that night. In the aftermath, Dunne served time in prison for manslaughter. But the story didn’t end there. James Hodgkinson’s parents reached out to Jacob through a restorative justice programme, setting in motion a journey of accountability, forgiveness, and redemption that would change all of their lives.

This production is every bit as emotional and hard-hitting as you might expect, given the weight of its subject matter. But what comes as a genuine surprise is just how much humour is woven into the script. James Graham masterfully balances the intensity of the story with well-placed moments of levity, ensuring the piece never becomes an unrelentingly heavy watch. The humour never feels forced or inappropriate — instead, it often emerges in the most unexpected places: awkward silences, tense exchanges, or moments of reflection. It’s a testament to Graham’s skill as a writer, bringing warmth, humanity, and relatability to a story that could so easily be defined solely by its tragedy.

Much of the production’s power lies not only in the strength of James Graham’s writing but in the clarity and precision of Adam Penford’s direction. His vision is critical to the play’s success, guiding the story with a steady and assured hand. Each moment is crafted with care, creating space and dynamism that allow the cast — and their characters — to fully inhabit the stage. Even at times when the pace feels relentless, Penford ensures the audience has the time and emotional access to truly connect with the people at the heart of the story.

Nowhere is this more evident than in the pivotal scene when Jacob meets James’ parents—a moment that has been tentatively building throughout the piece. While Act One focuses on Jacob and his upbringing in a frenetic, fragmented style, intercut with scenes featuring James’ parents and glimpses of James’ decline, Act Two shifts to the aftermath of the fatal night, including Jacob coming face to face with the victim’s parents. Here, Penford exercises remarkable restraint, allowing silence, stillness, and vulnerability to take centre stage. The scene unfolds with such raw honesty that it feels almost intrusive to witness—a testament to the director’s trust in his actors and his commitment to letting the emotional truth speak for itself.

Robbie Butler’s lighting design breathes life into the production, adding depth, atmosphere, and emotional texture to every scene. Equally vital is Alexandra Braithwaite’s evocative sound design, which underpins the emotional weight of the piece with a haunting, immersive soundscape. Her work doesn’t just accompany the action — it shapes the audience’s emotional journey, often speaking where words fall silent. Together, Butler and Braithwaite create a sensory landscape that amplifies the play’s emotional impact, making the story not just seen and heard, but deeply felt.

As a true story on a topic that has become increasingly mainstream in recent years, the piece features a cast that fully honours the severity and importance of the subject. Each cast member has reprised their role from the production at the Young Vic, which means that the performances are deeply nuanced and well-honed, bringing an authentic and powerful energy to the story.

Julie Hesmondhalgh and Tony Hirst play James’ parents, Joan and David, with immense sensitivity and respect. Hesmondhalgh’s portrayal of Joan is every bit as heartbreaking as one would expect—her performance captures an extraordinary depth of grief and vulnerability that feels profoundly real. She conveys the emotional turmoil of a mother grappling with loss, balancing sorrow with subtle moments of strength and resilience.

Meanwhile, Hirst’s depiction of David powerfully embodies the raw anger and pain that death inflicts. His performance is intense yet controlled, revealing the complex layers of a father’s hurt. Beyond this, Hirst’s ability to seamlessly step into other characters within the play demonstrates impressive versatility and discipline. Together, Hesmondhalgh and Hirst create a compelling portrait of parental grief, delivering performances that are both authentic and deeply moving.

It’s not just Tony Hirst who takes on multiple roles in the play. Shalisha James-Davis skillfully portrays both Jacob’s love interest and the restorative justice worker. Emma Pallant switches seamlessly between Jacob’s mother and his probation officer, with a clever moment when she exits the stage as one character and immediately returns as the other. Alec Boaden plays both Jacob’s friend Raf and his brother Sam. Though the latter is relatively brief, he delivers a powerful and memorable scene with his brother Jacob near the end of the piece. Each actor brings depth and authenticity, enriching the story and making the production truly compelling.

Leading the cast as Jacob, David Shields delivers an outstanding and energetically charged performance that anchors the entire production. From the very beginning, Shields invites the audience into Jacob’s world, revealing layer by layer what drives and defines the character — right up to the fateful climax. His portrayal is both effortless and deeply captivating, capturing a richly developed character arc that is as compelling as it is tragic. Shields demonstrates masterful control over both movement and vocal delivery, with precise pacing that heightens the emotional journey. His physicality is dynamic yet purposeful, and his line delivery resonates with authenticity and emotional depth. It’s a performance that not only commands attention but leaves a lasting impression.

James Graham’s Punch hits the West End with extraordinary force — and heart. The production explores themes of accountability, grief, and redemption with unflinching honesty and unexpected humour. David Shields leads the cast with a magnetic performance, carrying the emotional weight of the play with striking vulnerability and power. Under Adam Penford’s sensitive direction, and supported by an exceptional creative team, Punch is not just a story of tragedy — it’s a deeply human exploration of what it means to face the consequences of our actions and seek forgiveness.

***** Five stars

Reviewed by: Jordan Potts

Punch plays at London’s Apollo Theatre until 29 November, with tickets available here.