This paper traces the theatrical afterlives of C. L. R. James’s second play on the Haitian Revolution, The Black Jacobins, first staged in Nigeria in 1967. As with James’s first play, Toussaint Louverture (1934), The Black Jacobins emerged in a context structured by colonialism. The 1967 production of the second play shifted its attention to the persistence of colonial structures—what scholars have termed “coloniality”—even in the wake of anticolonial struggle resulting in formal independence across Africa, the Caribbean, and Asia. From among the subsequent productions of The Black Jacobins from the 1970s to the 2000s, this essay analyzes Rawle Gibbons’s 1993 adaptation in Trinidad because it brings the play to bear on Haiti’s contemporary political catastrophe in the wake of the deposition of President Jean-Bertrand Aristide. Gibbons’s adaptation, with its clear link between the Haitian Revolution of 1791–1804 and the struggle over Haitian sovereignty in 1993, also foregrounds Haitian women’s struggles in a context of rampant sexual violence.