Chloe Treat

Chloe Treat is a New York-based director and choreographer. Born and raised in the great, if not wildly problematic state of Texas, she directs and choreographs big-ass-musicals and opera. Chloe began her life in the arts as a dancer and has since worked as a director and choreographer of musicals, operas, and highly theatrical plays. Chloe is the director and choreographer of a number of new musicals and operas, most recently: Natasha Pierre and The Great Comet of 1812 (Broadway Asia), the American Opera Initiative (Washington National Opera), Taking up Serpents and Holy Ground (The Glimmerglass Festival), Dave Malloy’s Don’t Stop Me (Manhattan School of Music and The Polyphone Festival). Chloe is an associate artist for Heartbeat Opera where she choreographed Carmen, Lucia di Lammermoor, Daphnis and Chloe and Don Giovanni as well as co-directed a New York Times Critics’ Pick production of Der Freischütz. 

Chloe choreographed (R)evolution of Steve Jobs at Santa Fe Opera, The Good Swimmer, Thomas Paine in Violence, and Words on the Street at HERE arts as well as the American premiere of the Philip Glass opera, The Perfect American. Chloe has worked as an associate on a number of large commercial productions including Natasha Pierre and the Great Comet of 1812 (Broadway and the American Repertory Theater), Amelie (Berkeley Rep), and Heisenberg (Broadway).

She has also directed and choreographed large musical productions at many educational institutions including Pace (Amelie), Manhattan School of Music (Spring Awakening, Iron John, Wild Party), The New School (Street Scene) and Wagner (Evita). Chloe has her BFA in Drama from Tisch School Of The Arts. She’s an SDC Member and a Drama League Directing Fellow. Chloe was listed as one of the Broadway Women’s Fund “Women to Watch” in 2020 and received a grant from Opera America for Women Stage Directors and Conductors in 2022.

Chloe is a mother of two and has presented her writing about the intersection of motherhood and directing in industry publications like the SDC journal. Her ultimate goal as a director is to create spaces that value equally both artistic excellence and treating people well.