Max Cortezi on Cock, Pride Month, and His Upcoming Films

Max Cortezi is having a busy summer. The actor and producer currently stars as M in Mike Bartlett’s Cock at the East Village Basement while also appearing in the upcoming films The Revisionist, which recently premiered at the Tribeca Festival, and Trash Mountain. We spoke with Cortezi about producing and performing in Cock, what makes the play resonate during Pride Month, and what he learned from working alongside Alison Brie, André Holland, Tom Sturridge, and Dustin Hoffman on The Revisionist.

Cock is a play that strips away many theatrical conventions and puts the focus on language and relationships. As both producer and actor, what drew you to this piece, and how did wearing both hats affect your approach?
I was drawn to the fluidity and momentum of the show. I also am always drawn to stories that feel close to reality and feel relatable yet ridiculous. Because the show explicitly says no props, no set, no miming, and no stage directions, the actors essentially have no support, nothing they can lean on. The technical aspects are slim, so the entire focus, for both the actors and the audience, rests on the words and the relationships. What that creates is a heightened sense of vulnerability. There is nowhere to hide. It’s a challenge for the actors, but one that feels entirely rewarding by the end when you have been brave enough to bare your soul for both your scene partners and the audience.

Wearing both hats as a producer and actor has certainly been transformative. In the current landscape of being an emerging artist in the city, I felt producing my work was an act of necessity. I have met so many wonderful creatives while living in NYC, and assembling everybody using their gifts has truly been a gift. Each person involved plays a very pivotal role in making this show happen. Anytime the responsibilities of producing and acting simultaneously have emerged, having support from my wonderful co-producer Mia Pelosi and powerful director Christina Shea Wright rescued me.

The character at the center of Cock is grappling with identity, desire, and the pressure to define himself. What aspects of the play feel most resonant during Pride Month in 2026, and what conversations do you hope audiences are having as they leave the East Village Basement?
What feels most resonant to me is the focus on intimacy between gay men. The play masterfully brings into question the desire to put ourselves into boxes, whether by society or the people in our world. The pressure for John to “come out” due to his heterosexual relationship clouds the character’s abilities to communicate about what they need from their relationships. The court of public opinion in the show weighs heavily.

What resonates to me is the exploration of progress, alienation, and simplification that the world forces upon John and M. Regardless of their labels, they’re two flawed individuals who bring both the best and worst out of each other. It’s a resonant anxiety to me to wonder how much of one’s life is controlled by the current culture and society. Pride is about individuality; it’s about identifying in whatever way works for you. Sometimes we get it right, and sometimes we make some mistakes along the way. We hope this show reminds people that staying open and honest with the ones we love is the best path forward. This play has a lot of humor as well, so we hope the audience can chuckle along as these characters speak out of turn and through layers of dark comedy.

What were some of the biggest challenges, and perhaps the biggest surprises, in bringing Cock to life?
The overarching challenge is making sure you’re actually doing everything! There are so many aspects to building a show that sometimes things can get lost along the way. It may sound silly, but it can be as simple as forgetting to bring tape to mark out the dimensions of the stage when you’re in rehearsal, or making sure you have invited every single person you know to the show. It’s demanding, but you are constantly learning as you go. Perhaps the biggest challenge has been balancing the hurt in the play with the comedy. It’s a tightrope between melodrama and ridiculousness. Crafting both the heart and venom of M in particular has been a gift. I’m not sure if this counts entirely as a “surprise,” but I was very grateful to discover the amount of joy that exists alongside a play that becomes quite serious and intense. Those emotions exist together; you can’t have one without the other.

The Revisionist just premiered at Tribeca. Tell me about acting with Alison Brie, Dustin Hoffman, and André Holland, and what you learned.
Filming The Revisionist was a gift. I worked on both sides of the camera, working as second team as well as sharing a scene with Dustin Hoffman. I was lucky enough to be a fly on the wall and watch how Dustin, Allison, Tom, and André approached each scene. Each performance felt so lived in and subtle that it was easy to forget how fast-paced our process was. Allison is a master of both comedy and drama. She had a clarity and precision when approaching each scene that enriched every frame. André brought presence and connection in every moment. I couldn’t take my eyes off him whenever he was on set. I got to work as a stand-in for Tom, who brought palpable power and depth to his scenes. He felt spiritually powerful and intense in the best way. When Dustin came to set, everyone felt an immediate pressure to be on their A-game. He is basically mythic in his career and talent, but what struck me most was his joy. He was playful, full of spirit, and always with a smile when meeting the crew. Between setups, he had the whole set in stitches with jokes, stories, and smiles. He was incredibly generous in time and spirit, a true master of his craft and beautiful person.

Give us a preview of both The Revisionist and Trash Mountain. What can we expect?
Both Trash Mountain and The Revisionist contain one essential element. They are singular visions by talented writers who are bringing their dreams to life. For Trash Mountain, expect to be keeled over laughing from Caleb Hearon’s comedic power. Come for the laughs, but what will truly capture your heart is the soul he brings to this story. He has poured so much love, life, and light into the film. It’s hilarious, heartbreaking, and celebratory of the human experience. Expect sequins, belly laughs, and tears. The Revisionist explores being a writer with drama, comedy, and cinematic momentum. I had the pleasure of seeing it at Tribeca, and it blew my mind. There are twists aplenty, and the film left me thinking deeply about my own work and process. It is a film for anyone who has ever put a pen to paper and wanted to create something great. It is masterfully acted, and Hoffman, Brie, Holland, and Sturridge bring it full force.