Max Wolf Friedlich’s new play "The Holes," currently running at the Wild Project in New York City, explores a peculiar intersection of masculinity, community, and wellness through the lens of an aging upstate New York bar. The narrative centers on Joey, a reluctant caretaker of his family’s fading tavern, who returns home to tend to his ailing father. Despite the bar’s rundown atmosphere and dwindling local patronage, the establishment harbors an enigmatic back room known only to a select few—whose contents and purpose remain shrouded in secrecy, guarded by tradition and taboo.

Joey, portrayed with anxious intensity by Bubba Weiler, is drawn into a complex dynamic when Wesley, played by Grantham Coleman, a wealthy visitor from Manhattan, proposes transforming the once-local watering hole into a luxury men’s wellness retreat. Wesley’s vision involves bringing affluent clientele from the city to access the back room’s unique form of therapy, which draws from an obscure practice passed down through Joey’s family. The promise of financial revitalization clashes with the bar’s original spirit, fracturing the existing community bonds.

Martha, an eccentric and long-time regular brought to life by Tina Benko, represents the local perspective. She believes the mysterious back room occupant has long played a role in curbing local violence and shaping better men in the town. Martha’s sense of belonging is threatened by the gentrification embodied by Wesley’s plan, highlighting tensions over authenticity, economic change, and exclusivity. Jack Mulhern’s portrayal of Carson, Joey’s childhood friend turned reluctant security hire, further complicates the picture, especially as past grievances between him and Joey resurface.

Under the direction of Michael Herwitz with set design by Anna Grigo, the production balances comedic elements with more serious reflections on themes such as misogyny, economic exploitation, and the often opaque world of men’s wellness culture. The play satirizes the performative aspects of masculinity and critiques the commodification of so-called authentic male experiences. Friedlich’s writing also delves into underlying issues including homophobic self-loathing and the hint of homoerotic tension inherent in all-male spaces.

While "The Holes" delivers finely nuanced performances and sharp social commentary, some elements have drawn mixed reactions. The frequent use of offensive language, including slurs, raises questions about its narrative necessity versus shock value. Additionally, the play’s ambitious conclusion has been noted as challenging to fully realize dramatically.

Overall, "The Holes" emerges as an unusual and thought-provoking work, interrogating the complicated legacies of tradition, masculinity, and community in a changing social landscape.