I’ve watched Chloë Grace Moretz on screen for most of her life and mine, since we’re about the same age. After her breakout role in the 2010 film Kick-Ass, she made her stage debut at 17 in Scott Z. Burns’s The Library—a 2014 production at the Public Theater about a school shooting, directed by Steven Soderbergh. Now, over a decade later, she stars in the world premiere of Caroline, a new one-act play by Preston Max Allen, directed by David Cromer, at the MCC Theater.
Caroline is a complex portrayal of family love in all its forms, focusing on Maddie (Moretz), a heavily tattooed young single mother raising her transgender daughter, Caroline (River Lipe-Smith). Maddie isn’t the perfect mom; she’s battled addiction and often speaks without thinking, but she loves and accepts her daughter unconditionally. After a difficult situation arises for both of them, she decides to return to her childhood home and seek help from her estranged mother, Rhea (Amy Landecker).
Just before heading to the theater on the final day of rehearsals, Moretz, dressed in a stylish Canadian tuxedo, sat down with Vogue in Brooklyn to talk about her significant return to the stage and why it’s crucial to tell Caroline’s story now.
Vogue: Congratulations on the upcoming opening of Caroline. How did you get involved with the production?
Chloë Grace Moretz: I’ve been part of this project for a couple of years. When I joined CAA, one of the first things I mentioned was that I really wanted to return to the stage after a 10-year break. My amazing theater agent found this script, and I fell in love with it after reading it—the subject matter, its intensity, and how relevant it is right now. It was an opportunity to play Maddie, a multifaceted character, and dive into a role that’s different from what people have seen me in before. Plus, David Cromer is a prolific director.
Vogue: What were your initial impressions after reading the script?
Moretz: It felt like the perfect mix of everything I’d been looking for in a play. It’s intense—like a bullet train that starts and doesn’t stop; you’re on the ride until the end. It always seemed like a one-act, which it turned out to be, and I really love one-act plays. In fact, the last play I did 10 years ago was also a one-act.
Vogue: Tell me about that last play before your theater hiatus.
Moretz: My hiatus was from ages 17 to 28—almost 11 years. The play was called The Library, directed by Steven Soderbergh and written by Scott Burns, a wonderful writer. It dealt with a school shooting, opening with a surgery scene where you overhear what happened. It had intense subject matter that was poignant then and even more so now, given the issues of gun violence and safety in America. Similarly, Caroline tackles themes that are incredibly important today, like the dynamics of three generations of women, and as you peel back the layers, you see what Caroline is going through and her mother’s struggles with addiction and sobriety. I love projects that tear your heart out, stomp on it a bit, but then lift you back up.
Photographed by Victoria Stevens
Vogue: This is the world premiere of the play, so this version is the blueprint for now. What did that mean for how you all developed your characters?
Moretz: Preston has been closely involved with David and all of us in every rehearsal. The play has evolved a lot—things change when you’re physically there. We’ve spent a lot of time refining dialogue and letting subtext shine through. My last play was also an original, so I don’t have the experience of doing a more established piece. I feel really lucky that I’ve been part of creating something from the ground up.I’ve been able to leave my mark on these characters. Preston is such a strong, beautiful, and specific writer with a distinct point of view. He’s very intentional with his punctuation, so it’s about understanding the rhythm of the piece. With a new play, the biggest challenge is finding the tempo. Then there’s the physical aspect—I really wanted to immerse myself in that, and I worked with an incredible movement coach.
What was that like?
It’s amazing. She’s helped me grasp the aggression and dominance in Maddie’s posture at times. We begin by reading the script together, then spend hours discussing it and running through scenes. We explore different inspirations for the character and draw from real individuals.
It seems like you’re drawing from real people in the emo-punk scene for Maddie’s style and movements.
I had my own phase where I dipped into that world and was surrounded by people deeply involved in the scene. There’s a specific physicality and rhythm to them, like how they move their hands, and I focused on those details. I also do deep dives on TikTok or watch concert videos because Preston was very particular about the music referenced in the play. Coheed and Cambria was a key band—this tattoo I have is one of their symbols. On Reddit, we found people in sobriety and recovery who connected deeply with their lyrics. So we studied those lyrics and wrote them on the shoes Maddie wears.
Maddie is covered in tattoos, but do you have any of your own?
I have quite a few—23, I think. They’re mostly on my torso, with some on my ankle, the back of my neck, and one on my wrist. I keep them in places that don’t require covering up every day on set.
Given the play’s themes, does it feel like you’re part of a political production?
I believe the best art takes a strong stance, and this play certainly does. With what’s happening not just here but in many countries, there’s a silencing of trans, gay, and queer creators. I think it’s important to stand by the art you create. It’s been wonderful to see reactions from people who may not have had trans individuals in their lives; they get to step into this world for an hour and 26 minutes, hear the dialogue, and witness our existence. The normalcy of it all is what I love about Preston’s writing—there’s intense conflict, but none of it questions Caroline’s identity. She is who she is, and no one disputes that. This everyday acceptance is poignant and unexpected, which in itself is a statement.
Photographed by Victoria Stevens
Much of the tension is between Maddie and her mother. What’s it like performing such intense emotions daily?
I’m screaming and sobbing every day, and it’s brutal, but it’s worth it because of the audience’s response and how honest and moving it feels. I’m lucky to live in New York with my wife and our dog, so I can go home to a home-cooked meal and a bath. I’m excited for the play to open so I’m not in rehearsals all the time and can have my days back to start working out again.
What’s your routine like now?
I usually work out four times a week and have a bit of a life, but lately, rehearsals have taken over. We’re in from noon every day, and I don’t get home until 10:30.I usually sleep until nine, warm up my voice, and then drive into the city. Do you make that drive every day?
Yes, I do. I really enjoy driving in the city. Having lived in LA for a long time, I find driving in New York isn’t all that different—I just use my horn more here. Plus, I have a large car, so I’d probably be more nervous if I were in something smaller.
Is there any queer media that’s caught your attention recently?
It’s disappointing how little content is actually created by our community. Something more highbrow? I’m not sure, but we binge-watched Queer Ultimatum really quickly. It’s pretty outrageous.
This conversation has been edited for clarity and length. Credits: Hair by Jacob Rozenberg; makeup by Misha Shahzada; styling by Nell Kalonji; nails by Julie Kandalec.
Frequently Asked Questions
Of course Here is a list of FAQs about Chlo Grace Moretzs return to the New York stage in Caroline designed to be clear concise and natural
General Beginner Questions
Q What is the play Caroline about
A Its a stage play about a woman named Caroline who is grappling with a lifealtering decision exploring themes of family identity and choice
Q Who is Chlo Grace Moretz playing in the show
A She is playing the lead role of Caroline
Q Where and when is the play Caroline showing
A Its showing offBroadway in New York City at The Lucille Lortel Theatre The run began in the fall of 2024
Q Is this her first time acting on stage
A No she performed on stage as a child but this marks her major return to the New York theater scene after many years focused on film
The Experience Challenges
Q Why did Chlo say the experience was incredibly tough
A She found it tough due to the intense emotional demands of the role the rigorous schedule of live performances and the challenge of performing without the safety net of multiple takes like in film
Q What specific parts of the role did she find most challenging
A She mentioned the plays heavy emotional themes and the need to be on and fully present for every single live performance as the biggest challenges
Q How was stage acting different from her film work for her
A In film you shoot scenes out of order and can do retakes On stage the story unfolds in realtime from start to finish in front of a live audience requiring immense stamina and consistency
Rewards Benefits
Q What did she find rewarding about the experience
A She said the immediate connection with the live audience and the deep sense of artistic fulfillment from mastering such a difficult role were incredibly rewarding
Q How did this role help her grow as an actress
A It pushed her out of her comfort zone strengthened her acting muscles and gave her a new level of confidence from carrying a live theatrical production
Q Did she receive any special recognition for her performance
A While the play is new her