This chapter traces the colonial attempt to eliminate elements of Afro-Caribbean performances associated with the anglophone Caribbean theater, and the subsequent resistance reflected in it. I focus on Rawle Gibbons’ I Lawah (1985), Shepherd (1981) and Ogun Ayan—as in Pan (2006) recreate the heritage of the various Caribbean folk forms to narrate a communal history of an intensely creolized society. Each addresses a cultural tradition—Canboulay and Calypso, Baptist mourning rituals, Carnival—to reenact moments in the Caribbean collective memory. From the Canboulay Riots of the late nineteenth century to the mid-twentieth century Windrush era, each presents an instance of colonial ban or restrictive policy change regarding Afro-Caribbean cultures. While it is not unprecedented to ascribe colonialism within a rhetoric of catastrophe/disaster (Danielle Zoe Riviera and Jenna N. Hanachey’s works for instance), it is imperative to hold colonialism as a catastrophe that obliterates representative cultural practices, thereby altering particular cultural outputs.