At Baltimore Center Stage, the stage adaptation of Louis Sachar’s Holes under the direction of Johanna Gruenhut feels both playful and grounded, balancing humor with the story’s deeper emotional currents. From the moment the lights come up, the audience is immediately drawn into the stark, sunbaked world of Camp Green Lake, where the tone is set with striking visual clarity and intention. A particularly effective early image, when a tight spotlight isolates a pair of shoes, grounds the story in mystery right away, hinting at the strange chain of events to come. It’s a smart, simple choice that signals the production’s confidence in letting small moments carry weight. There’s a clear sense that this is an ensemble-driven piece built on precision, strong character work, and a thoughtful visual world. It’s a show that understands its audience but never talks down to them, allowing the material to breathe while keeping the pacing tight and engaging.
For those unfamiliar, Holes follows Stanley Yelnats IV, whose last name is his first name spelled backward, a boy sent to a juvenile detention camp where the punishment is deceptively simple: dig holes all day in a vast, unforgiving landscape, each one as wide and as deep as the shovel being used to dig it. What begins as a seemingly arbitrary sentence slowly reveals layers of mystery, history, and interconnected stories that stretch beyond the camp itself. The narrative weaves between past and present, building a world where fate, friendship, and resilience take center stage. Stanley’s frequent lament about his “old “no-good-dirty-rotten-pig-stealing-great-great-grandfather” becomes a running thread, adding humor while reinforcing the idea that the past is never quite past. The play carefully unfolds its secrets, trusting the audience to piece things together while staying invested in Stanley’s journey.
At the heart of the production is Zachary Corey as Stanley, and his performance anchors the entire show. Corey brings an easy likability to the role, making Stanley immediately relatable. His comedic timing lands naturally, never forced, and he has a knack for finding humor even in the more uncomfortable or tense moments. What’s particularly impressive is how he transitions into the character’s more serious beats. There’s a quiet sincerity in those scenes that keeps Stanley from becoming one-note. Corey understands that Stanley’s strength lies in his vulnerability, and he leans into that with confidence. It’s a performance that feels fully realized without ever feeling heavy-handed.
Opposite him, Jude Sincere as Zero delivers one of the standout performances of the evening. Sincere’s commitment to the role is evident from the start, with physicality and focus that never waver. There’s a very black-and-white sense of fairness in this portrayal, paired with a slightly misconstrued perception of Zero’s supposed love for digging holes, which adds an extra layer of complexity to the character. There’s a stillness to Zero that could easily be overshadowed in a busier production, but here it becomes a powerful tool. When Zero does speak or act, it carries weight. The fight scene, in particular, is a highlight. Sincere handles it with precision and intensity, making it both believable and emotionally charged. It’s the kind of moment that snaps the audience to attention, and she rises to it effortlessly.
Ephraim Nehemiah as X-Ray brings a sharp, layered take on the character, capturing the false friendship offered to Stanley with an insincere grin that never quite reaches the eyes. There’s an underlying sense of entitlement in the performance that makes X-Ray’s dynamics with the other boys feel authentic and, at times, quietly unsettling. Nehemiah plays the camp’s social hierarchy, making it clear how power shifts within the group without ever needing to overstate it.
Marcus Kyd as Mr. Sir leans into exactly what you’d expect from a counselor at a place like Camp Green Lake, and that’s very much a compliment. Kyd brings a sharp edge to the character, blending authority with just enough unpredictability to keep things interesting. He doesn’t overcomplicate the role; instead, he plays it straight, which makes the character’s harsher moments land even more effectively. There’s a dry humor threaded through his performance that adds texture without undermining the tension.
Then there’s Susan Rome as the Warden, who is, quite simply, perfection in the role. Rome commands the stage with a presence that is both controlled and intimidating. She understands the power of restraint, allowing small choices, tone shifts, pauses, or a look to do much of the work. The result is a Warden who feels fully in control at all times, which makes every interaction with her just a little more unsettling. It’s a performance that elevates every scene she’s in.
Beyond the performances, the production’s design elements come together in a way that feels cohesive and intentional. The costumes by Sarah Cubbage are particularly effective, capturing the dusty, worn-in reality of the camp while still allowing each character to maintain a distinct identity. Nothing feels out of place, and the attention to detail helps ground the story visually.
Similarly, Sydney Lynne‘s scenic design does an excellent job of creating a sense of scale and environment without overwhelming the stage. The set feels flexible and functional, supporting the storytelling rather than competing with it. It gives the actors room to move while still establishing the harsh, open landscape that defines the world of the play.
Overall, this production of Holes is a strong example of how thoughtful direction, committed performances, and cohesive design can come together to create something that feels both entertaining and meaningful. It respects the source material while carving out its own identity on stage. More importantly, it keeps the audience engaged from start to finish, offering moments of humor, tension, and genuine connection along the way.
Running Time: Two hours, with a 15-minute intermission.
Holes plays through May 10, 2026, at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets ($10–$90, with senior and student discounts available), call the box office at (410) 332-0033 (Tuesday through Friday, noon–5 pm), email boxoffice@centerstage.org, or purchase them online.
The program for Holes is online here.
Holes
Adapted for the stage by Louis Sachar
Directed by Johanna Gruenhut
