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The idea of the “Anthropocene” is rapidly gaining currency as an ecocritical lens through which to view theater and performance. But as a lens for critical analysis, the concept of the “Anthropocene” is problematic, primarily because it fails to differentiate among humans, many of whom are in conflict precisely because the benefits and costs of the “Age of Man” have been distributed unevenly. Neo-Marxist critics take such conflicts into fuller account in their argument that a better nomenclature and concept for our epoch is the “Capitalocene,” a term that captures the fact that our ecological crises have been precipitated not by humans in some undifferentiated and generalized way, but more specifically by the global spread of capitalism and its socio-economic-ecological injustices. These are also conflicts at the heart of many plays, both historical and recent. This essay offers an overview of a number of works that might productively be categorized as “Tragedies of the Capitalocene,” insofar as they dramatize stories that trace the dynamics of “Capitalocene” exploitation of both human and nonhuman resources. Plays considered include Cherríe Moraga’s  Heroes and Saints  (1992), Rahul Varma’s  Bhopal  (2001), Kia Corthron’s  A Cool Dip in the Barren Saharan Crick  (2010), Annabel Soutar’s  Seeds  (2012), Robert Schenkkan’s  The Kentucky Cycle  (1991), and Colleen Murphy’s  The Breathing Hole  (2017).