Blogcritics The critical lens on today's culture & entertainment
Punch
Today when U.S. citizens witness violence by those who profess patriotism, conservatism and religious fervor, they must look past the cognitive dissonance for clarity. Though Punch takes place in Nottingham, England between 2011-2025, the setting represents everywhere. Similar events have happened in the U.S. and other countries, where young men throw punches as a right of passage. Because of its universality and focus on violence, Punch at the Samuel J. Friedman Theatre arrives at a crucial time.
The heartfelt drama with comedic nuance explores trending social concepts and themes that impact our cultural wellbeing. The play examines the ethos of violence as evidence of weakness. Additionally, it explores how accountability for wrongdoing must be a part of rehabilitation, otherwise the likelihood of rehabilitation decreases. Finally, through the arc of the protagonist’s transformation, the play reveals that restorative justice can promote self-forgiveness and healing.
Based on Jacob Dunne’s Book Right from Wrong
Basing his play on Jacob Dunne’s true-to-life book Right from Wrong, playwright James Graham squares off against the confusion associated with brawling as justifiable, thrilling fun. The play identifies the societal constructs, often infused with political nuance, that exploit division and promote violence. Such constructs lift up physical assault as an emblem of masculinity. Likewise, they demean and dismiss kindness, compassion, and empathy as true measures of strength and power.
Through Graham’s well-delineated characterizations of Jacob (a sensational Will Harrison), whose one punch kills James, and James’ mom Joan (an equally sensational Victoria Clark), we learn that redemption, forgiveness and hope can manifest after violent acts that kill. Made alive by spiritual goodness, the process of redemption brings positive results, and with hope and persistence, nihilistic behavior can be turned around.
Front-loading
Director Adam Penford stylizes the play’s two acts with minimal sets and props put to suggestive use. Unfortunately, the playwright front-loads Punch with exposition, especially in the first act. In the prologue Graham carefully creates the circumstances around the fateful night that changed Jacob’s life. He does this through Jacob’s halting narration to a facilitator and “circle-group” in an initial therapy session. Jacob describes the night of Raf’s birthday celebration and the reasons how and why the confrontation with a stranger upended his life.
Through precise descriptions, the choreographed action via Leanne Pinder’s movement direction and the staging of Jacob and his mates, we understand how and why the killing took place. His friends had been celebrating with drugs and pub crawls. They then scattered, planning to meet up later. Jacob runs into a girl, Claire (Camila Canó-Flaviá) and has a brief flirtation. Then, Raf phones him about some “action” going down at Yates’ Bar in Market Square. For Jacob, “You always step in, your mate, my mates, your people.”
Using Violence to Fit in
Sadly, Jacob functions as Raf’s and his friends’ tool. Jacob describes how he arrives at Market Square. Helping his mates, Jacob slams a man with his fist during what he assumes to be a fight. He discovers the stranger’s name, James, later, and the punch lasts forever in his memory. The director stages the event symbolically and effectively in a freeze-frame tableau with sharp lighting.
James’ parents David (Sam Robards) and Joan (Victoria Clark) are dealing with James’ worsening condition and eventual diagnosis. We divine that James received a severe concussion and a brain bleed that requires surgery. James never regains consciousness, and after some days his parents pull him off life support.
In his circle-group therapy sessions Jacob discusses his childhood, parents’ divorce, change of living arrangements, alcoholic mom, and choice of friends in school. His choice of friends influenced his life negatively. Trouble in his school because of autism adds to his alienation, feelings of inferiority, and need to fit in with “his mates.” Violence bonds them in a show of masculinity and power.
Meanwhile David and Joan discuss their wonderful memories of James, the trial, appeals for a tougher sentence for their son’s killer, and the public’s underestimation of how one punch can cause death. Joan feels no peace after her son’s killer gets out on parole with a light sentence. Seeking relief, she ends up in a program called “restorative justice.” She communicates with Jacob in that context, encouraged by his social worker (Canó-Flaviá) and parole officer (Lucy Taylor).
Segments of the first act might have been streamlined and tightened, as the repetition of scenes with Jacob and his mates becomes tiresome. The second act moves more quickly. It profoundly deals with Jacob’s self-realizations and transformation prompted by communication with David and Joan. Agreeing to participate in the British restorative justice system, they communicate through letters. In the last scenes, they meet face to face and Jacob asks for forgiveness.
Harrison and Clark with the assistance of a fine ensemble (who take on many roles) breathe life into the characters and make them identifiable. Indeed the power of the production lies in the performances. Harrison moves deeply into Jacob’s emotions as he seeks peace, redemption and forgiveness. Clark’s Joan makes one admire the mother’s spiritual strength. She recognizes that she cannot live with hate and resentment toward her son’s killer. By seeking hope for Jacob’s future, she gives birth to the possibility that Jacob can make something of himself.
Adaptation from narrative to drama requires theatricality. At times, the dialogue doesn’t deliver and must be activated. Some awkward scenes need tweaking. Some might have been removed altogether. However, Punch rides the zeitgeist of the moment. Its performances elevate its timeless themes and strike us with their vitality and power.
Punch is at the Samuel J. Friedman Theatre until November 2.
