Is death the loss of our body? Or our soul? What are we if not our identity? Gill’s one-act prompts these juicy questions and so many more, serving a slick, genre-fied metaphor for how refugees are expected to adapt (unforgivingly so) to the culture of the country in which they seek shelter. It’s not only a chilling scene, but one both nuanced & humane, tackling the complexities of what it means to be and stay human amidst so much violence and terror. And, of course, what it means to give it up.

"Corrector" is an exceptional play in that although the events are not fixed, the universality of the characters’ situation is inherent. It could be any of us for any reason, which is what makes the piece so terrifying. Max’s dialogue is sly and simple. The characters give us just enough information to understand what’s going on in a broader sense without pinpointing it with specificity, so we automatically make it what we need it to be. Profound! Dark! Funny where we need it to be. Recommended!

06.25.25 - The most fascinating piece I saw at the Valdez Theatre Conference, this nightmare possible future envisions the ultimate attempt as assimilation, not at a linguistic or a cultural level, but at a genetic one, which is frightening beyond belief (and no doubt on some think-tank's "Honey, Do" list.) Max Gill takes us into a land of changing people beyond recognition. When one character says, "Because something in this world is very wrong." it hits the nail on the head with a bullet.