This essay explores the role that theater and performance, as embodied and multi-sensory art forms, have in interrogating the cumulative effects of catastrophe in the Caribbean. Drawing on two plays by diasporic creators, La otra orilla (1996) by Teatro Pregones and Yemaya’s Belly (2004) by Quiara Alegría Hudes, this chapter examines how audiences are immersed in the everyday sensorial reality of colonialism and neoliberalism within the region and invited by these works to reevaluate and reimagine their sensory engagements with the world as an ethical practice. By connecting the visual, aural, gustatory, and tactile elements of the plays with Yoruba cosmology and Caribbean poetics, This essay shows how Caribbean theater practitioners from the turn of the twenty-first century denaturalize Western concepts of temporality and spatiality in a way that challenges the language of acute (im)migration “crisis” and provides insight into avenues for addressing the persistence of catastrophic realities.